BA-Eindwerkstuk, Van Der Deure, 5827760

The Postfeminist Gaze
A textual analysis of gender representation in BBC’s Fleabag.
Mary-Joy van der Deure

5827760
BA-Media en Cultuur
Module code: ME3V15026
Supervisor: Dr. Rob Leurs
Second Supervisor: Dr. Jasmijn van Gorp
2019-2020, Semester 1
Date of submission: 09-02-2020
Abstract
BBC’s Fleabag has been widely acknowledged by critics, receiving multiple Emmy’s and
Golden Globes, with writer and actress Phoebe Waller-Bridge being highly praised for her
feminist writing of the show and its characters. This research has analysed episodes from both
seasons and tried to answer the question how gender is represented in the series. Being
produced after the start of the #MeToo movement, this analysis has been placed in a larger
academic debate surrounding representation, female sexuality and objectification. It has
attempted to contribute to this debate by analysing important themes in the show, with
attention towards both the narrative and the series’ use of direct address. Through a textual
analysis of two episodes it has shown that there is a progressive representation of gender in
both seasons, showing a diverse spectrum of masculinity as well as femininity, which is
reinforced by the main characters’ ability to tell her own story through her interaction with the
camera. These results where then also contextualized through the concept of postfeminism,
which effects have clearly influenced the narrative and therefore its representation of gender.
This has shown how this new form of feminism is in need of representation of the insecurities
and longings that a lot of women in contemporary times are struggling with. Through these
results, this research hopes to contribute to the existing academic debate on gender in
television, while also highlighting the societal importance of diverse representation in
mainstream media.
2
Table of Contents
Introduction ………………………………………………………………………………...4
Theoretical Framework…………………………………………………………………….6
Gender and the importance of representation.……………………………………….6
Stereotypes and The Gaze...………………………………………………….7
The Postfeminist Character…………………………………………..10
Method………………………………………………………………………………………12
Selection method……………………………………………………………………..12
Analysis method …………………………………………………………….12
Analysis……………………………………………………………………………………..15
Series One…………………………………………………………………………...15
Character Traits……………………………………………………………...15
Relationships………………………………………………………...17
Sexuality……………………………………………………..18
Summary……………………………………………..19
Series Two…………………………………………………………………………...19
Character Traits……………………………………………………………...19
Relationships…………………………………………………………21
Sexuality……………………………………………………...22
Summary……………………………………………...23
Conclusion…………………………………………………………………………………..25
Bibliography………………………………………………………………………………...28
Image References…………………………………………………………………………...33
Appendix 1: Analysis Chart……………………………………………………………….34
Appendix 2: Plagiarism Statement………………………………………………………..68
3
1. Introduction
“I have a horrible feeling I am a greedy, perverted, selfish, apathetic, cynical,

depraved, morally bankrupt woman who can’t even call herself a feminist.” 1
Those are the words with which the main, unnamed, character in Fleabag describes herself in
the first episode of the series. The BBC comedy follows a struggling woman (from now on
described as Fleabag) trying to make sense of her life in London. She is a loud, rude, sexually
promiscuous drinker and smoker, who has trouble connecting with the people she loves.
While trying to cope after the loss of her best friend, mostly by searching for distraction in
sexual relationships, she narrates most of her life to the camera. She comments on her
conversations, both through language as through non-verbal communication, she doubts her
own motivations but mostly, she jokes about almost everything. Her character, with its blunt
honesty, resonated with a lot of people, receiving six Emmy’s in the 2019 award show. 2
Writer and actress, Phoebe Waller-Bridge, has received high praise for her writing of the
characters and as Hannah Hoolihan in Collider described them: “They’re sexually and
emotionally honest without feeling the need to apologize for it – a rare thing to see in female-
led stories.”3 An achievement on its own, but especially since the second season was written
and produced in the post-#MeToo era.4
This #MeToo movement first needs to be discussed to fully understand the societal
context of the second season. As Waller-Bridge said herself, there were differences in writing
the first and second season, with the latter having a more “pressure-cooker feeling of needing
to talk about the complexities of female sexuality.” 5 A relevant development since it is exactly
this theme that is so prominent in Fleabag. The #MeToo movement started after actress
Alyssa Milano suggested in 2017 that all women who had been “sexually assaulted and
1
Fleabag, “Series 1, episode 1” directed by Harry Bradbeer and Tim Kirkby, written by Phoebe Waller-Bridge,
aired 27 December, 2016, on BBC One, https://www.amazon.com/Fleabag-Season-1/dp/B01J4SSP6E.
2
“Fleabag,” Emmy’s, last accessed on 08 January, 2020, https://www.emmys.com/shows/fleabag.
“Ian Youngs,” Fleabag at the Emmys: How America fell in love with a ‘dirty’ British Comedy,” BBC News, 23
September, 2019, https://www.bbc.com/news/entertainment-arts-49794823.
3
Hannah Hoolihan, “Why Phoebe Waller-Bridge Is One of the Best Writers Working Today,” Collider, 29 July,
2019, https://collider.com/phoebe-waller-bridge-writing-explained/
4
Fleabag, “Series 2, episode 4,” directed by Harry Bradbeer, written by Phoebe Waller-Bridge, aired 20
December, 2019, on BBC One, https://www.amazon.com/Fleabag-Season-2/dp/B07QBD39W7
5
Josh Smith, “Emmy winner Phoebe Waller-Bridge on how she expertly navigates sexual jokes in a post #MeToo
world,” Glamour, 23 September, 2019, https://www.glamourmagazine.co.uk/article/phoebe-waller-bridge-
chewbacca-star-wars-interview.
4
harassed” wrote ‘Me Too’ in their online status.6 This caused a large number of people to
speak out about abuse that they had suffered and many allegations entered the public domain
with one of the most covered ones, the case of Hollywood producer Harvey Weinstein. His
misconduct was seen as a more widespread problem in the industry and the debate soon
incorporated the underrepresentation of people who were not white, heterosexual or male. 7 As
Simone de Beauvoir already stated in 1949: “Representation of the world, like the world
itself, is the work of men; they describe it from their own point of view, which they confuse
with absolute truth.”8 As this statement points out, representation behind the camera has the
potential to give people a voice, which influences the content that is being created. After
#MeToo, more examples can be found of female directors and writers like Waller-Bridge who
get the chance to present their talent, and different television shows which include a more
diverse and complex cast.9 With Fleabag being a female-written show about female sexuality,
the movement is a relevant context. It explains the heightened attention towards the theme of
female sexuality that is so prominent in the series and consequently also the increased demand
for present-day research on the topic of representation in the show.
Both within gender and media studies, representation research is not uncommon,
resulting in an impressive body of work on the development of representation and its
influence and reception. However, with the media industry changing in the rapid pace that it
does, and the cultural shifts that are happening in Western society, a perpetual relevance
exists to look at individual case studies. Through focussing on representation of gender in
Fleabag, this research will therefore supplement the existing body of work on the subject. The
case study itself, has not been subjected to much research, despite its innovative way of
expressing its main character’s emotions and motivations through direct address, resulting in
the possibility for this character to tell her own story. This research will try and fill this space.
By combining a textual analysis focussed on both narrative as well as direct address, it has
6
Elizabeth Chuck, “#MeToo: Hashtag Becomes Anti-Sexual Harassment and Assault Rallying Cry,” NBC News,
16 October, 2017, https://www.nbcnews.com/storyline/sexual-misconduct/metoo-hashtag-becomes-anti-sexual-
harassment-assault-rallying-cry-n810986.
7
The Local, “Harvey Weinstein not ‘just one bad apple,’ it’s a bigger problem says Stellan Skarsgard,” The Local,
13 October, 2017, https://www.thelocal.se/20171013/harvey-weinstein-not-just-one-bad-apple-its-a-bigger-
problem-says-stellan-skarsgrd;
Gwilym Mumford, “Hollywood still excludes women, ethnic minorities, LGBT and disabled people, says report,”
The Guardian, 1 August, 2017, https://www.theguardian.com/film/2017/aug/01/hollywood-film-women-lgbt-
hispanic-disabled-people-diversity.
8
Simone de Beauvoir, The Second Sex, (New York: Vintage Publishing, 1949), 161.
9
Jill Serjeant, “Female directors reached record highs in 2019 Hollywood,” World Economic Forum, 06 January,
2020, https://www.weforum.org/agenda/2020/01/female-directors-reached-record-highs-in-2019-hollywood/.
Nikki Javadi, “15 TV Shows that Got Diversity *Mostly* Right,” The Whisp, 7 April, 2019,
https://thewhisp.mommyish.com/entertainment/tv/inclusive-tv-shows-diversity/.
5
tried to answer the question: “How is gender represented in the BBC show Fleabag?”
2. Theoretical Framework
2.1 Gender and the importance of representation
To properly answer the question how Fleabag’s control over her own narrative influences the
representation of gender, the concept needs to be established first. Key author on the subject is
philosopher Judith Butler, who claimed that gender is performative. 10 This means that
someone’s gender identity is constructed of ‘acts of gender’ that are being performed and that
do not exist outside of this performance. 11 According to Butler, this is a fluid process, but not
one that can be made by choice. This performance, for example the way a person moves their
body or speaks in conversation, is not determined by their described sex at birth but by a
repetition of these acts that construct a gender identity. 12 Consequently, this identity can
possibly be subjected to change. As Butler claims: “If the ground of gender identity is the
stylized repetition of acts through time, and not a seemingly seamless identity, then the
possibilities of gender transformation are to be found in the arbitrary relation between such
acts, in the possibility of a different sort of repeating, in the breaking or subversive repetition
of that style.”13
Butler’s research on the subject of gender has been influential in philosophy and
sociology but has also been of significant influence in media studies. Following her
argumentation that this performance can be subjected to change, the influence of gender
representation in the media on this performance cannot be underestimated. Sociologist
Rosalind Gill has attempted to analyse this close relationship between gender and media, and
stresses how important this representation is in the way we perceive the world. She also
follows Butler’s theory and sees how harmful stereotypical gender representations can be. 14
This means that the representations that are being presented in the media which we consume
have serious consequences on our vision of the world, and of ourselves. With an audience of
2.5 million in the UK alone, Fleabag has the potential to portray gender in a new way and is
10
Judith Butler, Gender Trouble: Feminism and the Subversion of Reality, (New York: Routledge, 1999): 527.
11
Judith Butler, “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory,”
Theatre Journal 40, no. 4 (December 1988): 522.
12
Butler, “Performative Acts,’ 526.
13
Ibid., 520.
14
Rosalind Gill, Gender and the Media (Cambridge: Polity Press, 2008): 1-6.
6
therefore an important subject of study to obtain knowledge on possible changing
representations.15
But how to implement Butler’s theory when analysing modern television? This can be
done in a multitude of ways, with different results. To exemplify this, one can look at the
research done by media scholars Brooke Bennett and Hillevi Ganetz. Both used the concept of
performativity in different kinds of analyses. Ganetz took the concept of performativity
almost literally and analysed reality talent television, seeing a strict binary distinction between
the genders, often with “highly traditional conceptions of these categories”. 16 Within her
research, she labelled the performance of femininity in particular, as harmful and one-
dimensional.17 Bennett researched a fictional genre, and focussed her attention on The
Walking Dead, when concluding that parody can be a way of resisting gender roles and
critiquing them at the same time, but that this is not always the case and sometimes even
problematic.18 At the same time, she highlighted the importance of looking at the complexity
of the performance that is being presented.19 Naturally, their results will be different since one
can point out multiple differences in their analyses, but both used the concept of gender
performativity to conclude that there were both problematic and progressive gender
representations present in their case studies. What they have in common is what to do with the
valid conclusions of these kind of gender studies, agreeing on the importance of complexity in
representations and condemning one-dimensional characters. This approach will be followed
in this research. Attaching moral judgement to every aspect of the specific performances of
gender in Fleabag is pointless. More important is the analysis of its complexity and its
possible divergence from stereotypical representations that maintain the binary
masculine/feminine distinction that constitutes the performance described by Butler.
2.2 Stereotypes and The Gaze
But why does this complexity matter? For this answer one must look at Richard Dyer’s
considerable amount of work on representation. He agrees with Gill on the importance of
representation, stating: “[…] how social groups are treated in cultural representation is part
15
Emma Bowden, “Finale of BBC Three’s Fleabag sees rise in 16-34 viewers,” Independent, 7 December, 2019,
https://www.independent.ie/entertainment/finale-of-bbc-threes-fleabag-sees-rise-in-1634-viewers-38023005.html.
16
Hillevi Ganetz, “Fame Factory: Performing Gender and Sexuality in Talent Reality Television,” Culture Unbound
3 (2011): 401
17
Ganetz, “Fame Factory”, 415.
18
Brooke Bennett, “Tough women of the apocalypse: Gender performativity in AMC’s The Walking Dead,” Horror
Studies 10, no. 1 (2019): 95.
19
Bennett, “Tough women,” 97.
7
and parcel of how they are treated in life […]. 20 According to him, a stereotypical
representation in particular can have harmful consequences. Reacting to Walter Lippman’s
definition of stereotypes as ‘ordering processes,’ he sees certain power relations in this
distinction. Dyer agrees that we need types in order to comprehend the world around us, but
that stereotypes are shallow depictions that cause us to attach judgement to this group. 21 They
differentiate between ‘normal’ and ‘abnormal’. The complexity of a certain representation is
therefore also a complication of the judgement towards the subject being represented.
Fleabag is a humoristic series with short, 27-minute episodes, and it will definitely use types
to make the world that is presented comprehensible for the audience. However, through the
use of a certain degree of complexity in the characters, the show could theoretically be able to
give out an alternative message on gender that goes beyond the stereotypical masculine and
feminine stereotypes.
If these stereotypes are embedded with a judgement regarding normality and
abnormality, these parameters first have to be determined in order to make any substantial
claims on the possibly complexity Fleabag’s characters. Even at first glance, it is clear that
the show revolves around a loud and disruptive woman. 22 This would position the character
against the stereotype of the passive, compliant woman, a form of normative femininity best
described by Beverly Skegg’s concept of ‘the respectable woman.’ 23 As the aforementioned
Ganetz summarized her work: “To be respectable includes being heterosexually passive and
oriented towards marriage and family. Also, ways of dressing, talking, eating, training and
education, as well as patterns of taste and cultural consumption separate a non-respectable
woman from a respectable one.”24 In this article she also states how there are multiple ways
for masculinity to express itself, but how the femininity that is being represented in her case
study has to follow this strict and limited norm of respectability. Ganetz even goes further and
claims there is only one stereotypical alternative for the heterosexual, passive woman and that
is the “sexual active, masculine woman.”25 She explains how men have more room for
movement on the spectrum of gender, presenting ‘feminine masculinities’ who are allowed to
show emotion and cry, while women are restricted to these norms. These stereotypical norms
are matching parameters to analyse the characters in Fleabag because of the themes regarding
20
Richard Dyer, The Matter of Images: Essays on Representation (Hove: Psychology Press, 2002): 1.
21
Dyer, “Representation,” 14.
22
Guia del Ocio, “Fleabag (Season 1) – Trailer VO,” YouTube Video, 1:56, 08 August, 2016,
https://www.youtube.com/watch?v=FhZHv2id6Sk&t=3s.
23
Beverly Skeggs, Formations of Class and Gender: Becoming Respectable, (London: Sage Publications, 1997):
24
Ganetz, “Fame Factory,” 410.
25
Ibid., 411.
8
sexuality and behaviour that are so prominent in the narrative. 26 Ganetz’s research once again
shows the importance of gender representation analysis, since these restricted and
stereotypical representations are influencing the way its viewers see the world and
themselves.
As mentioned, one important aspect of Fleabag is its main character’s interaction with
the camera. This concept called ‘direct address’ seems to be opposite behaviour from the
passiveness of the ‘respectable woman.’ Michele Hilmes defines this camera interaction
partly as: “direct address on television occurs when the presence of the camera/viewer is
directly recognized by the actors on screen […], by characters within fictional dramas who
address a short soliloquy or something as brief as a wink directly to the audience.” 27 A
description accurately fitting Fleabag. This seems an oppositional concept to that of ‘The
Gaze’ as described by psychoanalyst Laura Mulvey, who claimed that voyeurism is a key
element of the Hollywood film. According to her, the audience feels separated from the
events on the screen and can therefore look without being seen, which results in a voyeuristic
focus on the female body.28
But what happens with the woman on the television screen? And, taking it one step
further, what happens when that woman looks back, as is the case in Fleabag? According to
film scholar Mary Ann Doane, the reversal of the gaze is impossible. She claims that women
can either use their femininity as a mask or adopt a male spectatorial position. 29 But Doane
was strictly talking about film. As Alexia Smit describes, television has had a mostly female
audience since its beginning.30 It also missed the intimacy and anonymity that characterised
cinema but is known for its constant interruption, segmentation and communal way of
viewing, which is why it is often associated with ‘the glance.’ 31 Commenting directly on
Mulvey’s theory, Smit claimed that television has the capacity to be interactive and engaging,
and that it is exactly this quality that is creating a new kind of intimacy. Television has the
capacity to cause reflection and a form of critical awareness in its viewers and consequently,
complicate the gaze.32 It seems that the stereotypical passive women on screen is not only
26
For reference of the concept of the respectable woman, Ganetz’s summarization of the work of Skeggs is used
since this source gives a more clear and operable explanation of the concept while also adding renewed research
which will be useful context to this analysis.
27
Hilmes, “Apparatus,” 28.
28
Laura Mulvey, “Visual Pleasure and Narrative Cinema,” Screen 16, no.3 (Autumn 1975): 4-7.
29
Mary Ann Doane, The desire to desire: The woman’s film of the 1940s (Bloomington: Indiana University Press,
1987), 42.
30
Alexia Smit, “On the Spectator Side of the Screen: Considering Space, Gender and Visual Pleasure in
Television,” Feminist Media Studies 15, no. 5 (September 2015): 864.
31
Smit, “Spectator side,” 894.
32
Ibid., 895.
9
presented like that through her characteristics, but also through the way she relates to the
camera and therefore the audience. On first sight, Fleabag seems to complicate this
relationship, which seems to influence its representation of gender. As Smit also states, here
lies the importance of critical research on television to celebrate this possibility and encourage
a “productive play between closeness and distance; intimacy and distraction; empathy and
critical detachment.”33
2.3 The Postfeminist Character
As established, the medium through which the representation is distributed influences the
message being presented. However, the cultural context in which Fleabag is produced, as the
#MeToo movement developed, should also be considered when looking at representation. As
the aforementioned Gill describes, this contextual factor is the postfeminist era that is
currently developing, following the past three feminism waves.34 It is especially relevant
because of the feminist themes that are so prominent in Fleabag and the lives of its characters.
However, the true definition of this era has been debated. Professor in communication Angela
McRobbie wrote an influential article in which she defined postfeminism as “an active
process by which feminist gains of the 1970s and 80s come to be undermined.” 35 She argued
that girls today are convinced that equality is already here and that feminism is no longer
needed, while, at the same time, they are searching for social and sexual validation. 36 She also
shines a light on how important media is in this process, presenting women with endless
possibilities of what they could achieve now the world has changed. This puts tremendous
pressure on them and pushes feminism-aware women back in the arms of conventional gender
roles like marriage.37 It should be noted that this has been written well before the #MeToo
movement had developed. With that in mind, her theory seems to be in the position to be
questioned.
Amanda Lotz for example, does not agree with McRobbie’s theory, and claims that
McRobbie problematically switches from postmodern feminism into postfeminism. 38 The
difference being that postfeminism is not as characteristically relativistic, but instead fights
for complexity in representation: “Narratives that explore the diverse relations to power
33
Smit, “Spectator side,” 895.
34
Gill, “Gender,” 1-6.
35
Angela McRobbie “Post-feminism and Popular Culture,” Feminist Media Studies 4, no. 3 (February 2004): 1.
36
McRobbie, “Post-feminism,” 2.
37
Ibid., 261-262.
10
women inhabit depict the first attribute of postfeminism in contemporary series.” 39 Lotz
claims that the portrayal of a search for a traditional marriage isn’t necessarily feminist
backfire, but a new form of complexity that is being presented in a character. 40 And again, one
has to look at the medium involved in the representation. Film scholar L.S. Kim agrees with
McRobbie’s criticism of postfeminism and emphasises this point of view by mentioning how
television is a feminine medium, but that this is not the same as feminist. 41 With the history of
a feminine audience she claims that the medium repackaged feminism into pleasurable
viewing. The strong women represented are not always empowered. She notes that they show
how they use the myth of their greatest power, sex, to pursue what they want. However, Kim
sees this only in specific television shows. In others, she acknowledges the characters that are
more than just feminine, but who go from object to subject, who are complex and have
agency.42 Just like Smit, she sees in television, with its characteristic ‘glance,’ possibilities for
‘alternative sights.’43 Her balanced position towards postfeminism once again shows the
importance of complexity, but also of research of individual case studies. This again,
highlights the importance of this research regarding Fleabag.
It has been established that the series has had an immense audience reach, with its
message that, at first sight, seems to alternate from the norm. So far, little research has been
done on the British comedy, but one of the few scholars who did focus her attention on the
BBC hit is Faye Woods. She has looked at multiple shows in the genre that she calls the
‘precarious girl comedy’ and in particular their use of direct address. 44
She came to the
conclusion that these shows, in particular Fleabag, use this address to erase space and create
an uncomfortable feeling.45 Just as Smit did, she too recognizes the potential for reflection,
especially for female viewers, since they have both a moment of recognition as a moment
where they are ‘pulled too close’ and this connection becomes uncomfortable.46 Woods’
article precedes the second series of Fleabag, but also pays little attention towards the
characters and narrative of the story. This analysis will therefore supplement Woods research
38
Amanda D. Lotz, “Postfeminist Television Criticism: Rehabilitating critical Terms and Identifying Postfeminist
Attributes,” Feminist Media Studies 1, no. 1 (2001): 112.
39
Lotz, “Postfeminist,” 115
40
Ibid., 114.
41
L.S. Kim, “Sex and the Single Girl in Postfeminism: The F Word on TV,” Television and New Media 2, no.4
(November 2001): 322.
42
Kim, “Single Girl,” 320.
43
Ibid., 325.
44
Faye Woods, “Too Close for Comfort: Direct Address and the Affective Pull of the Confessional Comic Woman
in Chewing Gum and Fleabag,” Communication Culture & Critique 12 (2019): 194-212.
45
Woods, “Direct Address,” 205.
46
Ibid., 196.
11
to add to the limited information of the series, but more importantly, to the general body of
work on representation.
12
3. Methodology
3.1 Selection method
To answer the question how gender is represented in the television show Fleabag, two
episodes were chosen for closer analysis. The entire show is two seasons, of each six
episodes, and was originally produced for the BBC by Two Brothers Pictures.47 The first
season aired in August and September of 2016, and the second season followed in March of
2019.48After it aired at the British public broadcaster, it was available on Amazon Prime
Video, where it was accessed for this research. With pre-existing knowledge of the show, the
episodes that had been chosen were the first episode of the first season, and the fourth episode
of the second season. Because of limited time, the maximum of episodes that could be
analysed were restricted to two. The first episode is chosen because of its introduction to the
series, and to its main characters. The second episode to be analysed had to come from the
second season to show how the characters and the narrative had developed. Episode four has
been chosen for multiple reasons. Firstly, because of its level of development in both the
narrative as its use of direct address. The first episodes of the second season slowly introduce
a love interest that influences the main character and her behaviour. This comes to a climax in
this key episode, influencing both the character’s choices as the overall storyline in the
episodes that follow. This intertwines with the series use of direct address that diverts in this
episode from its previous use. These changes can be found in other episodes of the second
season, but not as prominent or as influential on the overall storyline. Secondly, this episode
is chosen because it received a lot of media attention, resulting in many articles and opinion
pieces on its supposed meaning and message. 49 This combination of narrative developments,
cinematographic changes and reception made episode four of the second season suitable for
analysis. The subquestions were then divided over the two episodes in the analysis section to
give a coherent overview of the results.
47
“Productions,” Two Brothers Pictures, Last accessed 10 December, 2019,
https://www.twobrotherspictures.com/productions
48
“Fleabag,” Programmes, BBC iPlayer, last accessed 10 December, 2019,
https://www.bbc.co.uk/programmes/p070npjv/episodes/player.
49
Colin Crummy, “24 thoughts I had while watching Fleabag episode four,” Stylist, April, 2019,
https://www.stylist.co.uk/life/fleabag-season-two-episode-four-recap/258235;
Olivia Ovenden, “The Latest Episode Of ‘Fleabag’ Gives Us What We Thought We Wanted,” Esquire, 27 March,
2019, https://www.esquire.com/uk/culture/tv/a26956511/fleabag-kneel-scene-priest-andrew-scott/’;
Lauren O’Neill, “That ‘Fleabag’ Confessional Scene Was About Much More Than The Show Itself,” Vice, 26
March, 2019, https://www.vice.com/en_uk/article/yw87gy/that-fleabag-confessional-scene-was-about-much-more-
than-the-show-itself;
Shannon Keating, “Let’s Talk About That Confessional Scene In “Fleabag,” Buzzfeed News, 20 May, 2019,
https://www.buzzfeednews.com/article/shannonkeating/fleabag-season-2-phoebe-waller-bridge-hot-priest.
13
3.2 Analysis method
In her summary of past research in Gender and the Media, Gill describes how content
analysis has been extensively used in research on representation over the years. As she
describes, this quantitative method can measure the actual numbers of different genders on
television. A good example of this is Jean McNeil’s research. Based in the midst of the
second wave feminist movement, she found that women were not only less represented in
fictional television, but also that they were still portrayed as married housewives or working
in traditional ‘female jobs’.50 Even though this kind of research gives valuable information,
it’s quantitative characteristics give little insight into ‘how’ gender is represented. Especially
because Fleabag’s interaction with the camera and the characters surrounding her, is what
creates a possibility for different gender representation in this show. Therefore, this research
has followed a more media studies approach and chosen a quantitative, textual analysis to
answer the question how gender is represented in Fleabag. Specifically, it will take the
analysis of Áine F. Lorié as an example.
Based in sociology, but specified in media and gender, Lorié researched how gender
was represented in the TV series Sex and the City. With prior knowledge of the content, she
divided the material into prominent themes that reflected female empowerment, after which
she deployed a textual analysis over this material with a focus on character, dialogue and
cinematographic imagery.51 This approach has been followed in this research. Having
watched the series twice, certain prominent themes regarding gender could be highlighted.
These are firstly, the character traits of Fleabag and the most important people in her life. This
entails the way the characters eat, speak, dress, what kind of job they have, and how their
posture is, for example. The second theme will be that of Fleabag’s relationships, meaning her
bond and interaction with friends, family and romantic interests. The third theme will be
sexuality, describing both Fleabag’s actions as well as her conversation on the topic. The
themes will, unavoidably, overlap slightly, since the way Fleabag interacts in her relationships
will for example, simultaneously, reveal something about her character. However, these
themes will still help to divide and structure the data into prominent categories regarding
gender representation, as they have done in Lorié’s analysis. As she states: “although the
programme portrays various other gender-oriented subjects, these four topics appear to be
50
Jean McNeil, “Feminism, Femininity, and the Television Series: A Content Analysis,” Journal of Broadcasting
19, no. 3 (1975): 262-263.
51
Áine F. Lorié, “Forbidden fruit or conventional apple pie? A look at Sex and the City’s reversal of the female
gender,” Media, Culture & Society 33, no.1 (2011): 39-40.
14
significantly more substantial and prominent in the thematic line-up in relation to female
empowerment.”52 A statement that also applies to Fleabag. The chosen episodes were then
analysed with a focus on characters, interaction (which Lorié calls dialogue), and interaction
with the camera. The latter has only focussed on the moments where characters are looking
directly into the camera or are interacting with it, verbally and non-verbally. These notes can
be found in Appendix 1. Afterwards, these results are categorized under the prominent themes
mentioned above. Finally, to answer the main question how gender is represented in Fleabag,
the following subquestions will be answered:
1.) How is gender represented within the character traits presented in the series?
2.) How is gender represented in the relationships between characters?
3.) How is gender represented in the expression of sexuality of the characters?
52
Lorié, “Forbidden Fruit,” 40.
15
4. Analysis
4.1 Series One, Episode One
Character Traits
Fleabag is immediately introduced in the first scene of this episode when she addresses the
camera, saying: “Do you know that feeling…” after which she proceeds to describe how she
drank half a bottle of wine earlier, has put on lingerie and make-up and how she is pretending
not to be expecting the man that has just rang her doorbell. Self-possessed, she proceeds to
open the door, after which the two immediately kiss and continue to the bedroom where they
have sexual intercourse. She uses direct address to narrate the experience to the camera, after
which she eventually lets the man have anal sex with her, explaining: “Well, he did come all
the way over here…” This opening monologue is exemplary for Fleabag’s behaviour that
often revolves around sex and is narrated by her jokes and sarcastic remarks. This demeanour
does, on first sight, seem to be in contrast with her appearance. Often in girly tops, with her
hair nicely done and a little bit of make-up on, Fleabag strikes a feminine and classy
appearance. This makes her presented gender performance very complex. As stated by Butler,
this performance is composed of elements like appearance, posture, language and attitude. 53 In
this episode she is seen drinking, smoking and swearing, calling a bank manager a ‘perv’ and
describing her father’s girlfriend as “not an evil stepmother, just a cunt.” This form of
consumption and use of language do not fit the stereotype of the respectable and passive
woman as described by Ganetz, but neither does her appearance fit the given alternative, the
‘overly sexual, masculine’ stereotype.54 Her feminine and self-possessed appearance,
combined with her, sometimes rude, and promiscuous behaviour all attribute to her overall,
complex gender performance in this first episode.
Other characters in this episode are often as surprising as Fleabag herself. In contrast
to her, sometimes harsh, behaviour, her ex-boyfriend Harry is a very emotional man. He
diverges from the typical performance of masculinity through his portrayal of emotions and
an enjoyment of dramatical situations, as is shown by a flashback of their breakup. He leaves
her after seeing her masturbating to an Obama speech on democracy. He seems to relish in
this moment of tension by dramatically shaking his head and storming out with a suitcase, an
event that apparently happened so many times before that Fleabag remains unimpressed. On
53
Butler, “Performative acts, “ 526.
54
Ganetz, “Fame Factory,” 410-411.
16
the level of expressing emotions, their characters almost seem to be reversed. Women are
often expected to be more emotional while traditional masculinity does not often allow this
expressive room.55 A gender performance that can be seen in the character of Fleabag’s father.
To the camera she mentions: “Dad’s way of coping with two motherless daughters was to buy
us tickets to feminist lectures, start fucking our godmother and eventually stop calling.” When
she is emotionally struggling a little while later in the episode, she turns up at her father’s
door, asking for guidance. Instead of comforting his youngest daughter, he mentions how she
“got that from her mother” and proceeds to call her a taxi, seemingly incapable of handling
these emotions. Ganetz describes this phenomenon as different types of masculinity that can
exist in the same space, her father fitting the traditional, closed off and confident man, while
Harry portrays a new kind of masculinity that is allowed to show emotion. 56 While
progressive, Ganetz states that men simply have more movement on the spectrum of gender
when it comes to representation. 57
In the case of Fleabag, however, most characters seem to have this movement on the
spectrum, as the women in Fleabag’s life seem just as diverse. Her “superrich power sister,
Claire,” as she describes her, seems to be a lot more restricted than Fleabag, with an
extremely uptight posture and an inability to laugh at any of Fleabag’s jokes. She gets her
fulfilment out of her “two degrees, a husband and a Burberry coat,” as she describes it herself.
Fleabag’s deceased best friend, Boo, is nothing like Claire, having the same humour as
Fleabag but also a more vulnerable side as is shown by her jealousy and manipulation of her
boyfriend. At first sight, Claire seems to be somewhat fitting the stereotypical norm of the
‘respectable woman’ until Fleabag mentions how her sister once got drunk and pooped in a
sink. Neither of them truly fits this norm as they are all self-sufficient women and everything
but passive. Unavoidably, they are all types, but as Dyer states, these are needed to make
sense of the world in the narrative. 58 However, they are all diverse and complex, making them
more than a stereotype. Following Dyer’s line of thinking, this also means that they are not
necessarily embedded with value in the sense of normal and abnormal, as stereotypes do.
Instead, through their character traits, they represent gender as a diverse and complex concept,
different in all characters. Especially Fleabag stands out from this respectable and passive
norm, through her use of direct address of the camera. Daringly, she looks into it, both
verbally and non-verbally challenging the audience. As, later in the episode, when she steals
55
56
Ibid.,
57
Ibid., 410-411.
58
17
money from her date and angrily walks out on him. She looks fearlessly into the camera, as if
to challenge the audience to say something of her bad behaviour.
Relationships
Gender is not only represented through the character traits on their own, but in the interaction
between Fleabag and the world around her, especially since most of her relationships are
troubled. While going to a feminist lecture with her sister, Fleabag and Claire do nothing but
argue. She also seems to despise her stepmother and her relationship with her father is almost
non-existent. The only person with whom she seems to have had a true connection is her
friend Boo, having made a pact that they would only trust and depend on each other. With
Boo having passed away, Fleabag seems to have emotionally closed off even more, going
against the emotionality that is usually a part of the feminine stereotype. When her sister
finally does try to connect with her and asks her if she wants to go for a drink, Fleabag
immediately turns this down. Claire’s following attempt at an embrace is then received with a
slap because Fleabag is so startled by the sudden display of affection. An interaction that
would normally not be associated with two sisters because of the before stated stereotypical
emotionality, but with a performance of masculinity where this openly showing of affection is
less accepted. The sisters separate, after which Fleabag immediately asks a stranger that is
walking by if she maybe wants to go for a drink. This shows how she is desperately trying to
find distraction in other people but refuses to actually let them in on an emotional level.
Most of Fleabag’s short-termed encounters are as distanced as those with her family
and friends. The contact remains superficial, as when she starts dating a man she met on the
bus. She shows the camera that she is repulsed by his bad teeth, after which she continuous to
flirt with him anyway. They go out for a drink, where she is cuts of his conversation and soon
asks if he wants to go home with her, which he refuses. Fleabag gets furiously angry, steals
his money and walks out. She is not looking for conversations and connection, but for
distraction. On a narrative level, she is always in total control since she refuses to let anyone
get emotionally close to her and making everything happen on her terms. This is the opposite
of the passiveness that is part of the respectable, feminine stereotype and is enhanced by her
interaction with the camera. Other characters are unable to notice these short monologues or
glances and don’t seem bothered by her lack of response when she only answers to the
camera. Through this use of direct address, Fleabag is able to narrate her own story, both
verbally and through facial expressions. Since the audience only has access to her version of
18
events, Fleabag is able to present her own narrative. Through these two forms of control
within her relationships, she diverges from Ganetz’s stereotype and simultaneously performs
a femininity that includes agency.
Sexuality
As mentioned, most of Fleabag’s short-termed relationships seem to revolve around sex. Most
of her life seems to be dominated by this theme, like when her relationship with Harry ended
because of her sexual behaviour. When he warns her “not to show up on his doorstep, drunk
and in her underwear, because that won’t work this time” she just responds to the camera with
“Oh, it will.” She is utterly convinced that sexuality will fix the problem in the end. As Kim
mentions, this attitude towards sex can be presented in two ways. 59 At first sight, it does seem
that Fleabag uses sex as a tool for power, described by Kim as a great “myth”. 60 However, she
also mentions how some shows present women who are complex and, most importantly, have
agency. Though also using her sexuality at times, this latter description seems to fit Fleabag’s
behaviour more. She doesn’t use sex to ‘get what she wants,’ the sexual intercourse is what
she wants. This again becomes clear when she encounters a drunk woman on the sidewalk.
After helping her and calling a taxi, she asks if the woman wants to come home with her. The
woman gets angry and turns her down. Though somewhat remarkable behaviour, this does
represent a free attitude towards sex. Where the respectable woman is sexually passive and
oriented towards marriage, Fleabag seems to be driven by a search for pleasure, also shown
by her consumption of alcohol and cigarettes. Besides that, she is also not exclusively
heterosexually oriented, as Ganetz describes as a norm. 61 It appears that Fleabag is not
necessarily attracted to women but that she will make an exception when she can’t sleep with
a man.
As established, the camera plays a large part in Fleabag’s control over the narrative.
This is even more the case in her own sexuality that she narrates through direct address.
During the opening monologue, where she is having sex with the man who came to her house,
she keeps looking directly into the camera while having intercourse. As stated before, women
and their sexuality are often something to be looked at. 62 Here, something else happens as
Fleabag’s sexuality is not directly objectified. She seems utterly at ease, narrating her
intercourse as “some standard bouncing.” The whole scene has an awkward feeling over it,
59
Kim, “Sex and the Single Girl,” 321-325.
60
Ibid., 324.
61
62
Mulvey, “Visual Pleasure,” 4-7.
19
best described by Woods in her article on the series. She describes the use of direct address
here as “a space erased in an evasive way” that is confronting the audience with scenes that
are causing discomfort.63 According to Woods, this results in “breaking social and emotional
taboos surrounding femininity, bodies and sexual experience.”64 Through her control of the
camera, deciding what it sees and how it is presented, she is able to drag the audience to
places it might not want to go. Sexuality is already a form of control for Fleabag within the
narrative, keeping people at an emotional distance, but through the use of direct address it has
the same function on the level of the camera by reversing the gaze and therefore refusing the
objectification of her own sexuality.
Episode Summary
Within this first episode of Fleabag, the characters are already presented as more than just
stereotypes. Fleabag is a complex character that diverges from the norm of ‘the respectable
woman’ through her character traits, her relationships and her own sexuality. Other characters
represent different kinds of femininity and masculinity, existing in the same space. Though
progressive, this portrayal of gender is not unheard of. However, Fleabag takes this
representation to a new level through its use of direct address. This creates possibilities for its
main character to, firstly, control the narrative and comment on what is happening and how
we perceive the other characters. Secondly, through this control she is able to create an
uncomfortable intimacy that has potential for reflection. Together, they create an active
character that has control over the way she and her world are perceived instead of becoming
the passive object of it, while reversing the gaze and therefore rejecting sexual objectification.
4.2 Series Two, Episode Four
Character Traits
In this episode of the second series, partly through a natural development of the narrative,
most characters seem to have evolved and gained even more complexity than before. Like
Fleabag’s father who, in a flashback, is seen opening up to her about his grief for her mother.
In strong contrast to the other analysed episode, he shows emotion and accepts his daughter’s
sadness while also being open to her emotions, resulting in a complexity of his gender
63
64
Ibid., 204.
20
performance. Instead of representing a stereotypical, emotionally distant masculinity, the
narrative develops and shows a character who is sometimes able to break through this
standard. A new man has also entered Fleabag’s world, a priest that is officiating her father’s
wedding and to whom she grows rather close. This is an interesting choice of character type,
since priests are often associated with celibacy but also with a certain patriarchal position of
power. A position that seems in contrast with Fleabag’s feminism and agency. This is
everything but a stereotypical priest though, as he drinks, smokes and swears a lot. He is also
able to joke about his religion and seems to struggle with his faith, especially now since he
has met Fleabag. As stated, most characters are complex types, but the priest seems to
combine most characteristics of the men in Fleabag’s life into one. Their conversations are
often on an emotional level, like she has with Harry, but he tells very little about himself. Like
her father, he has an emotional barrier, partly created by his patriarchal position. Even though
he is a priest, the character also has a sexual dimension. Not only in Fleabag’s eyes since she
finds him very attractive, but through the comments he himself makes, saying to her: “Oh stop
calling me father, like it doesn’t turn you on just to say it.” Though the characters apparently
have a strong connection, their traits seem to stand in opposition of one another.
The priest has an immense impact on Fleabag and some of her armour seems to
dissolve. His questions bring back memories for her, which are presented to the audience
through flashbacks. Her grief for Boo and for her mother, that she tried so hard to ignore in
the first episode, seems to have surfaced through his questions and she is struggling with her
loss. This causes her to open up to the priest, but therefore also to the audience, complicating
her character even more. In this episode, she ends up in a literal confessional booth with the
priest, after he realises, she is unable to answer any of his questions face to face. Here, she
finally completely opens up, resulting in the following dialogue:
Fleabag: “I want someone to tell me what to wear in the morning.” The priest laughs,
Well, I think there are people who can...” Fleabag: “No, I want someone to tell me
what to wear every morning. I want someone to tell me what to eat, what to like, what
to hate, what to rage about, what to listen to, what band to like, what to buy tickets
for, what to joke about, what not to joke about. I want someone to tell me what to
believe in. Who to vote for, who to love and how to... tell them.” She starts crying. “I
just want someone to tell me how to live my life father because so far I think I’ve
been getting it wrong. And I know that is why people want people like you in their
lives because you just tell them how to do it. You just tell them what to do, and what
21
they’ll get out the end of it. And even though I don’t believe your bullshit, and I
know scientifically, nothing I do makes any difference in the end anyway I am still
scared. Why am I still scared?
In this confession, her struggle with her independence becomes clear. Having been
established as a strong, independent feminist, she literally confesses that she wants to be told
what to do. On a deeper level, she almost longs for a traditional marriage where she just has to
follow somebody else. This feeling is, to her, so incredibly “wrong” that she has to confess it
to a priest, making this longing almost sinful. Here, the postfeminism as described by both
McRobbie as Lotz can be identified. Though McRobbie’s description of young, feminist
aware women who are “pushed back into the arms of conventional gender roles” seems to be
accurate in this particular scene, Lotz’s description seems more fitting when looking at the
character as a whole.65 As stated, she explains how postfeminism creates new narratives
wherein female characters are able to “explore diverse relations to power,” resulting in a
complexity of representation.66 Postfeminism simply causes a reflection on an existing desire
that some women have. In a world of endless possibilities, independence can become a
burden.
Relationships
Within this second season, the most noticeable development is Fleabag’s relationship with the
priest that differs much from her other relationships in many ways. He seems genuinely
interested in her life and what moves her as they talk about religion, faith and death. When he
keeps asking her questions about her life and her family, they fight because Fleabag is still
refusing to open up on an emotional level. He then accidentally blurts out “I’m just trying to
help you.” While talking as equals until that point, this statement suddenly reinforces his
patriarchal role over her. As stated, Fleabag tries convulsively to keep control. Woods wrote
in her article on the first series “Fleabag traps us solely in the perspective of its emotionally-
detached protagonists where direct address is used to display her performance of femininity
and attempts to control social situations.”67 Here, in this episode of the second series, the
priest is able to pierce through her protective barrier and for the first time a more vulnerable
Fleabag is seen, eventually resulting in her confession to him. On a narrative level, the priest
65
McRobbie, “Postfeminism,” 2.
66
Lotz, “Postfeminist,” 115.
67
22
is able to force her to let go of her obsessive control over every encounter, also causing the
audience to see a new side of her.
As Woods’ quote also shows, Fleabag’s direct address is a large influence on her
control. In the first episode, she decided what the camera saw and how this was portrayed,
while other characters were oblivious to its existence. This too, changes when she meets the
priest. At first, she starts making mistakes in her direct address during conversations with
him. While they are walking the street, they are having a serious conversation about death, but
in between every other answer to him, Fleabag is telling the camera how “gorgeous his neck
is.” At a certain point she makes a mistake, telling the camera about her loved ones who
“were already gone” and saying to the priest: “Oh, his gorgeous neck.” Later in the episode,
while they are sitting in her café, she is avoiding his questions, looking into the camera
instead of answering him. He notices this and yells to her: “What is that? That thing that you
are doing. It’s like you disappear. What are you not telling me? Tell me what’s going on
beneath there!” He is the first character who is able to notice the camera. He may not know
what he is seeing, but he is noticing her attention directed towards it. When, at the end of the
episode, he mentions to her how she doesn’t like answering questions, she awkwardly looks
into the camera in response, after which he does the same. Woods mentioned how, in series
one, “her pain flickers through her control.”68 In this episode, this is more than just a flicker.
Her direct address is a form of control, and here, the show seems to literally play with this
mechanism. The direct address intertwines even more with the narrative as her control of it
weakens at the same time as her emotional control does.
Sexuality
Where Fleabag was obsessed with sexuality in the first episode, making even non-sexual
encounters revolve around the subject, this episode she has fallen in love with a man who will
not have sex with her. Because of the priest’s celibacy vow, she is forced to simply enjoy his
company as they go out shopping with each other, or even go to a Quaker meeting at one
point. The silence that is necessary at these meetings makes her say: “I wonder if I wouldn’t
be such a feminist if I had bigger tits,” to which the priests starts laughing. They become
friends and seem to form a connection that, to Fleabag, is a lot more intimate than a physical
encounter. So intimate that, when they fight, and she is walking the street smoking and crying,
she doesn’t want the camera around. Her situation is too vulnerable and intimate, more than
68
Ibid., 208
23
her sexuality was in any of the episodes before. However, she has lost her control over the
camera and it refuses to leave. She tries to physically run away from it, without success. The
camera is not her accomplice anymore but has turned into a voyeur. It is voyeuristic in the
way that most television and film is, portraying events and emotions without a willingness of
the characters in the narrative. Only in Fleabag, the main character angrily looks back,
confronting the audience with its own voyeurism.
This comes to a culmination when, after her speech in the confessional, the priest is
unable to control himself and breaks his vow for her. They kiss, and while Fleabag is trying to
take his clothes off, a painting of Jesus falls of the wall with a loud bang. The two jump away
from each other, as if directly punished by God himself. The priest looks at her, confused and
sad, after which he walks away. Fleabag, being left alone in the church, looks into the camera
with a furious look in her eyes. This was not something that it was supposed to see. When, in
a later episode, the two do finally have sexual intercourse, Fleabag turns the camera away.
This is different from her previous encounters; these moments are intimate and therefore
private. The priest has caused her to lose control on a narrative level as well as through her
use of direct address. Her relationship with the camera has changed and because she doesn’t
consciously choose to show her sexuality anymore, the camera has turned into an unwanted
and intruding gaze. This is, however, a gaze that the audience is conscious of, as they are
confronted with their voyeurism. As Smit has stated, “television has the capacity to cause
reflection” and a form of critical awareness in its viewers and as a consequence, “complicate
the gaze.”69 Here, through the same play with intimacy and distance that Smit described, this
form of awareness and therefore a possibility for reflection is created.
Episode Summary
This episode shows a natural complexity of the characters through a development of the
narrative. Characters like Fleabag’s father are shown in different ways, growing even further
beyond a stereotype than they did in the first episode. Through the character of the priest, and
Fleabag’s connection to him, she opens up on an emotional level, complicating the character.
She isn’t just sexually obsessed or emotionally closed off, but she also isn’t overly dramatical
or sexually passive. She is all these things at once. Her struggle with her feminist identity also
becomes more complex, fitting the postfeminist condition as described by McRobbie and
Lotz. Especially the latter’s comments on postfeminist representation seem to fit seamlessly.
69
Smit, “Spectator Side,” 894.
24
Fleabag isn’t portraying a feminist backfire through her speech about wanting to be told what
to do, she is showing an internal struggle with the limitless amount of choices that she has to
make in her life and a desire to let some of her control go. The casual and often funny
comments on her failure to be a good feminist in the first season are now shown to be more
profound than initially presented. These cracks in her emotional control are also enhanced by
a similar development in her control of the camera. Her love for the priest makes her
vulnerable, making her want to escape its vision. She doesn’t choose to show her intimacy
and sexuality anymore, turning the camera into an unwanted gaze. This gaze, going further
than just sexual intimacy but working on an emotional level as well, is consciously presented
to the audience. It is exactly this awareness of the gaze that has the potential for reflection.
25
5. Conclusion
This research has tried to answer the question how gender is represented in the BBC series
Fleabag. It has done this through a textual analysis of two episodes in both the first and the
second season, in which data was categorized under dominant themes regarding gender
performance. Subquestion one has showed how gender is represented through the character
traits that result in complex characters that go beyond stereotypes. It showed not only a
diverse portrayal of masculinity but also a progressive representation of femininity in the
narrative, and through the main character’s interaction with the camera which gave her
agency and control. The female characters did not conform to the respectable stereotype
described by Ganetz or the given alternative, but where diverse, self-sufficient women with
agency that stood out from the given norms.70 Subquestion two showed how the relationships
between Fleabag and the world around her were controlled within the narrative, but also
through her use of direct address which made her able to narrate her own story and have
control over the way her world was portrayed. This same control was visible within the theme
of sexuality that was the subject of the third subquestion. Through both the narrative as her
use of direct address the sexual objectification of her encounters was diverted, and her agency
established. This highlighted again the existence of the portrayal of sexuality, mentioned by
Kim.71 Fleabag’s use of sex as a form of power is not postfeminist backfire, but the choice of
a woman who is the subject of her own story and sexuality, instead of the object. 72 This also
results in the uncomfortable intimacy that Woods had already established. 73 Together, the first
episode represented a progressive image of gender with multiple points for possible reflection.
Having established this, the second analysed episode further complicated this agency
and control within all three themes, adding vulnerability and a postmodern conflict to the
main character. By introducing the priest, the show was able to portray an even more complex
main character, both in her behaviour as in her relationships. In this episode, Fleabag was
more than a self-sufficient, confident woman, but also one with more conservative longings
for passiveness and representing a postfeminist struggle with independence. This also
changed her relationship with her own sexuality, moving towards a different kind of intimacy,
one that she is less comfortable with. Because of this new character, and his ability to pierce
70
Ganetz, “Fame Factory,” 410-411.
71
72
Ibid., 322.
73
26
through her emotional barrier, her interaction with the camera also changed within all three
themes. During the two episodes, her control of the camera became an allegory of her control
over her life and emotions. Being enhanced by the priest his ability to notice its presence.
Now that this control is fading away, it is turning into an unwanted gaze. Because she keeps
looking at it in frustration, it does reflect the gaze back to the audience, causing the
mentioned potential for reflection. This makes Fleabag more than a progressive gender
representation. As Dyer stated, complexity matters because it avoids value embedded
portrayals of what is normal and what is not. 74 Presenting these progressive characters, who
also struggle with conservative longings and complex performances of gender that refuse to
fit any given norm, has influence in the actual world. As Butler already stated, one’s gender
identity is not a given, but based on repetition. 75 What we see represented in our entertainment
matters, and this research has tried to prove how these new and progressive representations
already exist on our screens.
These results are part of a larger debate surrounding the gaze and its position in other
media. This research has shown how the gaze can be found, in a different way, in television
and therefore disagrees with the medium’s sole association with the glance. These episodes of
Fleabag show how, through the play of distance and intimacy described by Smit, there is a
possibility of making the audience aware of the gaze and therefore cause reflection. 76
Consequently, this research is in opposition to Doane’s statements on how the reversal of the
gaze is impossible and how women can only take on a male spectatorial position or use their
femininity as a mask, and instead acknowledges other possibilities surrounding this concept. 77
This analysis therefore agrees with both Smit and Kim in this debate and affirms television’s
potential for reflection.78 The relevance for individual case study research has been
established above, however, this is also a shortcoming. As the existing debate shows, the
concepts are complex and dependent on many different factors, which makes it complicated
to make more general statements on current representation. Hopefully, this analysis can be
groundwork for further research into the potential of the medium. All media, but television
specifically, have changed a lot over the years. Shows like Fleabag are being binge-watched,
a form of viewing that has a lot of similarities with film. In possible further research, it would
be interesting to see what the effects of this new form of viewing are, on the implementation
74
75
Butler, “Performative Acts,’ 526.
76
Smit, “Spectator Side,” 894.
77
Doane, The desire, 42.
78
Smit, “Spectator Side,” 894;
27
of the voyeuristic gaze on television. Until then, this research has shown the potential of
television in its representation of gender. In these contemporary times, where there is a
renewed attention towards the representation of all genders, both in front and behind the
camera, academic research is needed. As Fleabag shows, with new opportunities come doubt,
and it is important to analyse the results of these new developments so one can learn and work
towards a more equal future.
28
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https://www.imdb.com/title/tt5687612/mediaviewer/rm1985897984
34
Appendix 1: Analysis Chart
Analysis Episode 1 (Season 1)79
Characters: Fleabag Opening monologue: After hearing a women breath loudly, the character of Fleabag enters the frame and starts
her conversation to the camera with “You know that feeling when...” She describes drinking half a bottle of
wine to calm her nerves, dressing up and then pretending she wasn’t expecting the man that is standing behind
the door. She immediately has intercourse with him, describing it as “some standard bouncing” after which she
allows anal sex while explaining her motivations to the camera with: “He did come all the way over here.”
Fig. 1 Sexualized adverts and articles in the newspaper. 80

Meeting on the bus: When travelling on a bus, Fleabag is reading a newspaper. A closeup of the paper shows a
story about back chiefs facing a Commons enquiry, the question if the word ‘Feminism’ has become dirty, and
an ad for mortgages showing a naked woman pleasuring herself. After this quick shot, a man on the bus starts
flirting with her. He approaches her and comments on how “this never really happens”, after which she laughs in
a fake way and looks nervously at the ground. Towards the camera, however, she quickly says “I hate myself”
with a stern face, after which she continues to giggle towards the man. Even though she first shows her approval
of his appearance through an eyebrow raise at the camera, after he shows his very crooked teeth, she seems
79
For a chronological overview of the episode, see Fleabag’s character description. Since all scenes in the episode involve this main character, and everything is seen from her
point of view, this overview gives a complete insight into the events in the episode. Important dialogue is therefore also written down here, because this gives insight into the
main character and her conversations. The scene titles here are also used in the rest of the columns, both in the character description, as in the overview of their interaction
with each other and with the camera.
80
Fleabag, “Series 1, episode 1”, , Screenshot, 02:32. directed by Harry Bradbeer and Tim Kirkby, written by Phoebe Waller-Bridge, aired 27 December, 2016, on BBC One,
appalled, but continuous to go along with his advances anyway.
After her flirt, in which she describes her ex-boyfriend as being too caring and affectionate, the man promises
“to treat her like a nasty little bitch” after which she gives the camera a hopeful look, when the man than says it
was just a joke, she looks at the camera in disappointment.
Breakup Flashback: This sequence shows that her boyfriend left her after her masturbating to an Obama
speech. From his response, it becomes clear that this kind of behaviour is not new and that he has had enough.
Next to his dramatic display of emotions, she seems distant, surprised but not really affected by the scene.
Confident that she just has to show up drunk and in her underwear on his doorstep and that he will take her back
in a heartbeat. The only moment when her demeanour changes is when he mentions that he “really tried to be
there for her during this time”. There is no explanation what this time was or why this comment affects her.
Applying for a loan: During the conversation with a man that is supposed to grant her a small business loan,
she sweats because she had to run to the appointment. When the man mentions that the company has not had
many opportunities to grant loans to women, she blurts out “because of the sexual harassment case”. After this,
she attempts to take of her jumper, having forgotten that she is only wearing a bra underneath. Clumsily, she
tries to explain to the man that she was not trying to seduce him for the loan, ending with “I’m no trying to shag
you, look at yourself.” When then asked to leave, she shows a more vulnerable side, explaining that she really
needs the loan. When that doesn’t work, she soon goes back to her confident self. saying “perve”, to which the
man responds “slut”, to which she says “Wow!”.
Feminist Lecture: After her sister immediately comments on her being late, she says she still had to go to the
bathroom. After Claire asks if she washed her hands she jokingly answers: “Of course not.” After which she
smears her hands all over Claire’s face. After Claire gets angry, she says: “Of course I washed my hands, it is
not like I grew up without a mother.” After which the sisters share a more serious look. During the lecture she
keeps teasing her sister. At a certain point Fleabag tries to ask her sister for money but can’t go through with it
because she’s too proud, explaining to the camera “I just can’t do it.” After the lecture, Claire tries to get in to
contact with her. Asking if she is okay and if she wants to go for a drink. She refuses this, but after Claire walks
away, she immediately asks a stranger who is walking by if they want to go for a drink. Apparently, she is in
search of social contact, just not with her sister. At that moment she gets a text from the bus guy who asks if she
wants to go for a drink. She looks at her phone in disgust, but the next scene shows them together in a pub.
Date: During her date with the man on the bus she looks extremely bored while he rambles on. When he goes to
the bathroom she immediately reaches for his wallet and steals a banknote from it. After this, she cuts his
36
conversation off and asks if they can’t just go back to his house. Even though he says he can’t, multiple times,
she pushes through and tries to convince him, ending with: “What the fuck is your problem?” When he says he
likes her she responds with “You’re a dick. Your pathetic.” Angry that he doesn’t immediately wants to sleep
with her she runs off, dropping the stolen banknote in the process. When he gives it to her, not realizing it is his
own money, she takes it back and runs off.
Bus stop: After the date she is waiting for bus when she encounters a drunk woman. After helping her out she
tries to convince the woman to sleep with her. The woman gets angry and gets in the cab that Fleabag has
ordered for her.
At her father’s door: After being rejected twice, she says to the camera “fuck it” and goes to her father’s
house. When he opens the door and asks her what is going on, she tears up. Crying, she says “Ah, it’s nothing”.
Her father reminds her that it is nearly two in the morning. After she stutters, and almost walks away, she turns
around and says: “Ah fuck it. I have a horrible feeling that I am a greedy, perverted, selfish, apathetic, cynical,
depraved, morally bankrupt woman who can’t even call herself a feminist.” Her father responds coldly and calls
her a cab. After he lets her in to wait for it, he says: “Don’t go upstairs.” Which is subsequently the first thing
that Fleabag does.
Upstairs: There she meets her stepmother, who is painting. It soon becomes clear that she does not like her,
calling her ‘a cunt’ to the camera. She tries to be interested but from both sides, the women seem very
uncomfortable. Her stepmother seems to take her artwork very seriously, while Fleabag makes jokes about the
breasts of a figurine.
Taxi: While making friendly conversation with the driver on her way home, he asks if she runs the café on her
own, and when she says it is a long story, he encourages her to tell it. Fleabag: “I opened the café with my friend
Boo. She’s dead now. She accidently killed herself. It wasn’t her intention, but it wasn’t a total accident. She
didn’t actually think she’d die, but she just found out her boyfriend fucked someone else and wanted to punish
him by ending up in hospital and not letting him visit her for a bit. She decided to walk into a busy cycle lane.
Wanting to get tangled up in a bike. Turns out, bike’s go fast and flip you into the road. Three people died!
She’s such a dick.” The cab driver is silent. She stairs out of the window. She then opens up her jacket, still not
wearing anything underneath from when she gave her top back to her sister and reveals the golden figurine that
she stole from her stepmother.
Harry Breakup flashback: When Harry storms out angrily during their fight, he is being very dramatic and imagines
Fleabag begging him to stay, which she doesn’t, claiming “Don’t try to stop me!” while she looks at him a bit
37
surprised, but silent. He claims he wanted to be there for her, showing a genuine care for her. At the end of the
flashback Fleabag describes her ex-boyfriend to the man on the bus as: really kind, supportive, and hardworking
and “fucking affectionate” boyfriend but in a tone disgusted tone like this is a bad thing.
Claire Feminist Lecture: Fleabag describes her sister Claire in their first scene together to the camera as “Uptight,
beautiful, probably anorexic but clothes look beautiful on her so…”. In this sequence she also seems very
uptight, commenting on Fleabag arriving late, and getting angry at her jokes. When realizing Fleabag is wearing
her top, she doesn’t confront her with that fact, but comments on her keeping her jacket on in a passive
aggressive way. She does seem interested in Fleabags life but is also judging her choices. When Fleabag teases
her with her drunken, embarrassing actions and says she won’t stop until she does something better, she
frustratingly states: “I have two degrees, a husband and a Burberry coat.” To which Fleabag is very unimpressed
and keeps claiming “You shat in a sink. Nothing is ever going to be better.”
They change the subject and Claire comments further on Fleabag’s outfit, now directing her attention to her
pants: “You shouldn’t wear such cheap material. It doesn’t let your fanny breath.” After the lecture, Claire
seems genuinely worried about Fleabag. She awkwardly tries to embrace her, asks her if she is okay and if she
wants to go get a drink.” She seems very uncomfortable when going past the jokes and the criticism. When
Fleabag turns her down, she immediately regains her posture and walks away.
Dad Feminist Lecture: During the lecture Fleabag introduces her father: “Dad’s way of coping with two motherless
daughters was to buy us tickets to feminist lectures, start fucking our godmother and eventually stop calling.”
At her father’s door: When Fleabag turns up at her father’s door, crying, in the middle of the night. It is
obvious he does not know how to handle the situation. He responds coldly and calls her a taxi.
Stepmother Upstairs: When going to the top floor after her father told her not to, she encounters her stepmother. It was
mentioned before that this woman was once her godmother. To the camera Fleabag admits: “To be fair. She is
not an evil stepmother; she is just a cunt.” The stepmother seems friendly and welcoming at first, but her body
language also does not complement what she says. While smiling she quickly grabs a figurine from Fleabag’s
hands, seemingly afraid that she will steel it. And while smiling and acting friendly, she comments on how
‘ghastly’ Fleabag looks.
Boo Dressing Room: During this flashback sequence Boo is shown having a lot of insecurities claiming, “I hate my
body, I hate my body.” However, by commenting on how horrible Fleabag’s dress is it also shows that she is
confident enough to criticize and comfortable enough with her friend to say that to her face. Even though this
turns out to be her own dress and Fleabag is offended, she apologizes profoundly and laughs while begging for
38
forgiveness.
Café: During the café flashback it turns out that Boo is also the owner of the café, together with Fleabag. They
are good friends, drinking and smoking together. The friends make a pact, to never ask anything from anybody,
because “they just don’t get it.”
Taxi: During Fleabag’s conversation in a taxi, the audience learns that Boo accidently killed herself. While
wanting to get injured by a bike to punish her boyfriend she killed herself and three other people.
Interaction of Harry Breakup flashback: After she gets caught by him while masturbating to Obama, she denies it, claiming she was
main watching the news. Distrustful, he asks her to explain what he was talking about, to which she doesn’t have an
character answer. He starts packing up his stuff and mentions how he has tried to be there for her “through this time”. He
with: warns her not to contact him and not to stand on his doorstep, drunk in her underwear, and that won’t work this
time. He keeps saying she should not stop him leaving, or say anything, while she is attempting neither of those
things.
Claire Feminist Lecture: Claire immediately comments on Fleabag being late, and after Fleabag smears her
supposedly dirty hands over her face as a joke, she gets genuinely angry and annoyed, showing the contrast
between sisters. When the topic comes to their parents, the sisters show a more serious look and describe how
they both have not heard from their father. They seem to portray a classic sister annoyance when Fleabag is
wearing Claire’s top and is trying to hide it, while Claire is trying to confront her passive aggressively. When
she then starts the sentence “So...how is it going...” they immediately start a not understandable discussion,
talking through each other. Showing their tense relationship. After a few seconds they fall silent. Fleabag smirks
at her “Hair looks nice,” after which Claire says: “Oh fuck off.” She admits to Claire that she and her boyfriend
Harry have broken up, to which Claire responds: “What? Again? Just don’t get drunk and scream through his
letterbox again.” Fleabag: “Thanks for the vote of confidence. Don’t get drunk and shit in your sink again.”
Claire: “When are you going to stop bringing that up?” Fleabag: “When you do something better.” Teasing her
sister for this break of her character that is normally so perfect with this embarrassing detail.
39
Fig. 2: Fleabag’s response after her sisters tries to hug her.81
After the lecture: After they both embarrassed themselves in the lecture, Claire says “I want my top back.” To
which Fleabag responds: “Okay”. The following scene shows Fleabag giving the top back. Claire seems
genuinely moved and worried when asking if she won’t get cold. To which Fleabag replies: “Nah, I won’t. I got
really hairy nipples.” Claire doesn’t laugh at her joke but just looks at her. When she tries to hug Fleabag, it
startles her, and they end up in a hit/embrace to which Fleabag says: “What was that? Jesus! That was terrifying,
never do that again.” Claire: “I was just trying to…. Are you okay?” Awkwardly she asks if she wants to go for
a drink which Fleabag refuses. Even though she immediately asks a stranger out for a drink afterwards.
Dad At her father’s door: After she visits her father, visibly upset in the middle of the night, he doesn’t let her in
but asks what she is doing there. After she cries and tells him her worries, he only replies with: “Well, you get
that from your mother.” Clearly uncomfortable, he falls silent. Fleabag doesn’t seem surprised by his cold
reaction and says: “Good one.” After which he replies that he will call her a cab. She can come in while she’s
waiting but she cannot go upstairs.
Stepmother Upstairs: When encountering her stepmother, who responds very friendly to her entering the room, Fleabag
immediately says: “Don’t worry, dad is already booking me a taxi.” They stare at each other uncomfortably for a
few seconds. The stepmother explains that she is painting, that the night times are often very peaceful. Fleabag
81
Fleabag, “Series 1,” episode 1,” Screenshot, 13:01.
40
looks into the camera and states: “Oh, warming up.” The stepmother still seems very friendly and asks if she is
okay, and that everybody has been very worried. Fleabag ignores the question and talks about a golden nude
figurine on a shelf next to her. Her stepmother explains: “It is an expression of how women are subtle warriors,
strong at heart, that we don’t have to use our muscular force to get what we want, we just use our...” Fleabag:
“Tits.” Stepmother: “Innate femininity.” Fleabag: “Tits won’t get you anywhere these days. Trust me.”
After her godmother explains how valuable the sculpture is, Fleabag laughingly asks if she could have it. Also
laughing her stepmother says no, after which she quickly grabs the sculpture from Fleabag’s hands.
They fall silent again. Fleabag tries another conversation, asking about her abstract, grey painting, to which the
woman replies that it is her self-portrait. Again, they fall silent. They both seem visibly relieved when her dad
yells that the taxi has arrived. Her stepmother quickly also claims how nice it was of her dad to call a cab.
They awkwardly smile and kiss goodbye. Her stepmother ends with: “Please look after yourself. You really look
ghastly darling.” Fleabag looks at the camera with rolling eyes.
Boo Dressing Room: During her meeting with her sister she has a flashback of fitting clothes with a friend. Boo is
complaining in one stall about how horrible it is to find clothes that fit and how she hates her body. After they
both leave the booth, she comments on how Fleabag’s dress is horrible and that it does nothing for her. When
realizing that these were her own clothes she apologizes profoundly after Fleabag goes back into the dressing
room, yelling at her friend. Though they are shouting, and Fleabag is affected by her comment, they are also
both laughing while Boo is begging for forgiveness for her comment.
Fig 3. Fleabag and Boo make a promise.82
41
Café: After being rejected by both her date and the woman at the bus stop, Fleabag has a flashback of her and
Boo at their café. Showing for the first time that this was originally owned by both of them. They are drinking,
smoking and singing. They seem at their most comfortable with each other. Boo grabs Fleabag’s face with two
hands and says: “Hey come here, let’s not ask anybody for anything ever. They don’t get it.” To which Fleabag
replies: “Deal”.
Other Opening Monologue / Meeting on the bus: The first few minutes of the episode, and the first two people that
characters Fleabag interacts with are strangers who are interested in her romantically/sexually.
Applying for a loan: The first man she interacts with outside of a romantic/sexual context is the bank employee
that is supposed to grant her a loan. He uncomfortably admits that the company had a sexual harassment case.
After she accidently takes off her jumper when forgetting that she is only wearing a bra underneath, the man
claims: “that won’t work here…anymore.” Even though this was not her intention, the man sends her away.
Feminist Lecture: When the speaker asks during this lecture how many women would trade five years of their
lives for the so called “perfect body”, both Fleabag and Claire immediately raise their hand, being the only one
in the room. After which Fleabag claims “We are bad feminists.”
Date: Even though her body language shows that she is not interested in the man she met on the bus; she does
go to the pub with him. While he talks about himself non-stop, she looks bored. After she steels his money, she
tries to get him to sleep with her, seemingly the only reason that she is there in the first place. After he says that
he can’t at that moment, she immediately runs of, angry.
Bus stop: After her date she encounters a drunk woman that falls over at the bus stop. She reaches to help her
and puts back her top that had fallen down. She asks if she is okay, but the woman drunkenly says “Are you
okay? Sad face.” After they hug the woman says: “You’re such a lovely man”. After this, she puts the woman in
a cab home, but then says: “Do you want to come home with me?” The woman is very offended and says “No,
you naughty boy.” Still too drunk to realize Fleabag is not a man.
Taxi driver: Only in the last scene, when a taxi driver is making friendly conversation and asking about her
café, she tells the true story of what happened to Boo. In a half laughing, but also teary way she speaks about her
best friends’ death.
Camera: Fleabag When Fleabag directs her attention towards the camera, for verbal response or just a sideways glance, she
always makes direct eye contact with the lens. There is one exception, in the very first shot. After a blackout
shot where only her nervous breathing is audible, the camera positions itself quickly in her point of view looking
82
Ibid., 16:33.
42
towards the door, after which it changes towards a shot of her by the door. It switched to this one more time,
after which the camera stays on her and she directs her attention towards it.
Fig. 4. Fleabag narrates her sexual intercourse.83

Opening monologue: Immediate relating to the audience she starts her monologue with “Do you know that
feeling..” during which she shows emotion, specifically nerves, while hiding this when opening the door to her
one night stand. During their meeting, every word is spoken towards the camera, also her reactions towards him.
He is unable to hear her, but also doesn’t seem bothered by her lack of verbal response. She not only comments
on the situation and his conversation, but also on the sex that they are having, while they are having it. Turned
on her side she looks at the camera showing little emotion while commenting on her intercourse as ‘some
standard bouncing.’ The monologue seems to lead the story. When she says, “Then he kisses you gently”, the
unnamed man does so afterwards.
Meeting on the bus: When she notices a man staring at her from behind his newspaper she slowly looks back,
after which she raises her eyebrows towards the camera. Towards him she giggles and smiles, while expressing
her doubts through facial expressions towards the camera. When the man asks about her breakup, the audience
can see a flashback of her masturbating to an Obama speech, and her ex-boyfriend running away angry in
response. She does not share this information with the man.
Breakup flashback: She also shares her knowledge of other characters with the camera. When during their
breakup, her boyfriend says that she should not “turn up drunk, in her underwear on her doorstep because that
won’t work this time”, she quickly looks into the camera and claims “It will.”
83
Ibid., 00:55.
43
Fig. 5. Fleabag requests a loan for her café. 84
Applying for a loan: This is the first sequence where she does not have any contact with the camera. Even
though the scene as humorous elements, with her taking her clothes off by accident and calling the man a perv,
the scene shows a more vulnerable side of her, in desperate need of a business loan.
Feminist Lecture: During this sequence she describes her sister and her father to the camera. After taking of
her coat and immediately putting it back on again, she admits to the camera that she is wearing the top that
Claire lost years ago, and so explaining Clair’s angry reaction to the camera. After they fight for a while, and
they sit down. Fleabag turns to the camera and states: “The only thing harder than having to tell your super high-
powered, perfect, anorexic rich super-sister that you’ve run out of money is having to ask her to bail you out.
“She prepares herself to ask Claire, saying to the camera multiple times “I’m just going to ask her.” But when
Claire interrupts her camera conversation with “Do you need to borrow money” she immediately responses
with: “No!” and excuses herself to the camera saying, “Can’t do it, can’t do it, can’t do it.” She keeps explaining
to her sister how business is really good, while she has a flashback of how her café is really running.
Café Flashback: Only visible for the audience is a flashback of her working in her own café where it shows a
man sitting down and re-charging three different devices while not even ordering a coffee. Displaying how her
café is not doing as well as she says it is.
Boo Flashback: When her sister asks about a small detail of her pants, she has a flashback of her buying the
pants with her friend Boo. After her sister makes a comment about the cheap material, she does not make a
cheeky comment like before, but says “I know.” and looks affected by the memory. She doesn’t look at the
84
Ibid., 05:58.
44
camera anymore in this sequence after this.
Date: When she steels her date’s money and then runs off because he doesn’t want to sleep with her, she drops
the money. When he gives it back to her, thinking it is hers, she accepts it and gives the camera a quick glance,
not portraying that much emotion but aware of something/someone watching her during this moment.
Café: Another flashback of her time with Boo. It becomes clear that during these flashbacks, she never
acknowledges the camera. They are her own private thoughts that the audience has access to. After her flashback
in which she and Boo make a pact not to ask anybody for anything, she goes back to the present. She looks into
the camera and says: “Fuck it” and walks off.
At her father’s door: She turns out to storm to her father’s house, doing exactly what everyone told her not to
do to her ex-boyfriend and starts yelling through the letterbox. Through the letterbox she claims to the camera
“this is totally fine.” During her vulnerable moment she ignores the camera. Upstairs, with her godmother, she
comments on the woman’s character. Even though she seems very still, Fleabag warns the camera that she is
not. It then also becomes clear that the sweet façade is fake and that her stepmother makes unkind comments
while smiling.
Fig. 6. Fleabag looks into the camera after stealing the figurine. 85
Taxi: On her way home, after telling her stranger what happened to Boo, she reveals the stolen figurine. Half-
naked, with the stolen, golden figure of a naked female body pressed to her bare skin she looks into the camera,
and smiles.
Other Other characters are unaware of the camera for the entire episode. They are also unaware of Fleabag’s narration
85
Ibid., 21:38.
45
Characters towards the camera, or her glances towards it during their conversation with her.
Summary
1. Characters:
- Fleabag: A sexually promiscuous character, which shows through her one-night stands and the fact that she is constantly talking or thinking
about sex. Also visible in her reaction to an Obama speech, her aversion to the man on the bus while still being willing to sleep with him, or the
random girl she then meets on the street. It is also pointed out however, through the sexual adverts in the newspaper and the harassment case of
her bank that she is living in a very sexually focussed environment. She also has doubts about her ability being a feminist, showing through in her
behaviour in the feminist lecture, her speech at her father’s door and more subtly, in an ad in the same paper. She is confident and seems to make
a joke about nearly everything, especially when things get emotional or people try to talk to her about the death of her friend Boo. She seems to
have no time for feelings, craving a man that will ‘treat her like a nasty little bitch’ and being disappointed when this comment turned out to be a
joke. This fact is enhanced by her description of her loving and caring boyfriend, qualities which seemingly annoyed her tremendously. She
smokes, drinks and swears regularly in the episode. She steels, money from her date but also the figurine from her stepmother, both without
immediate reason. Through the episode there are sometimes flashes of grief for her friend Boo. Though she doesn’t present this directly, the story
of her death and the reaction of her environment indicate that this loss is recent, and that Fleabag has been struggling.
- Harry: During the flashback scene of their breakup it becomes clear that her ex-boyfriend is a sensitive man, being unable to cope with
Fleabag’s sexual drive. When packing up his stuff during their fight he takes on a dramatic posture and keeps mentioning how she shouldn’t try
to stop him, which she doesn’t, and how she shouldn’t speak, which she also doesn’t. He has taken her back many times before, becoming
obvious from Fleabag’s confident description of how showing up at his door always works. To the man on the bus her ex-boyfriend is described
as sensitive, kind, supportive and really affectionate. He seems genuinely upset by her behaviour but also mentions how he does not have any
other choice than to leave her.
- Claire: Fleabag’s sister is described by her as uptight and beautiful. These characteristics also show in her posture, and all her comments on
how Fleabag is late, how she stole her top and how she gets very angry at all her jokes. She mentions her degrees, marriage but also her
expensive coats as achievements that prove how successful her life is. Besides the uptight perfection, she also shows the same ‘failure at being a
good feminist’ as Fleabag during the lecture. Afterwards, she genuinely shows concern for her sisters and tries, awkwardly, to connect with her,
clearly not being used to showing that much affection.
- Dad: Fleabag’s father’s history is introduced shortly by Fleabag to the camera. Apparently, he has lost his wife, but fell in love with the
godmother of his children soon afterwards. He seems to want to be there for his daughters but is unaware of how to do this. He buys them tickets
46
for feminist lectures, but never calls, according to Fleabag. When his youngest daughter stands in front of his door in the middle of the night,
crying, he seems unable to cope with these emotions and sends her away. He only lets her into the house at the end of the scene, to wait for the
taxi. He does not necessarily seem unkind, but more detached from any connection with his daughter.
- Stepmother: Fleabag’s stepmother/godmother is described by her as a horrible woman but first seems to come across as very friendly. She
smiles and welcomes Fleabag warmly into her house. She does, however, quickly take a figurine from her hands, not trusting her with it,
appearing to be afraid she will steal it. She says how lovely it is that her husband called Fleabag a cab, instead of being surprised by him sending
her away. She also, still smiling, makes horrible comments on how Fleabag looks. They seem to be insults, disguised as caring remarks.
- Boo: Boo was Fleabag’s best friend that turns out to have passed away. It is not clear how long ago, but by all the concerned comments of her
family, it appears to be quite recent. Boo was not only her best friend, but also co-owner of the café. She also drank and smoked and made funny
remarks at Fleabag. Even when she accidently insulted her in the dressing room, there was enough trust between the two friends that they
laughed, while also being a little bit offended. The second flashback shows how they depended on each other emotionally. Making a pact not to
trust anybody else or ask for anything. They only got each other. In hindsight, however, Boo was not completely stable, wanting to throw herself
into a bike to get injured and punish a boyfriend. She also didn’t really think her plan through, accidently killing herself and two other people in
the process.
2. Interaction:
- Harry: Fleabag’s relationship with her ex-boyfriend is not explained in depth in this episode. It does, however, become clear that he was good
to her, in a sense that he was caring and supportive, but that she didn’t get out of the relationship what she wanted. He couldn’t handle her sexual
drive, or this was at least a trigger that made him move out. They are currently broken up, but Fleabag does not seem to be really worried that this
is permanent. She seems to think that she can get him back when she pleases.
- Claire: Her relationship with her sister seems to be complicated. They go together to lectures that they got from their father, but don’t seem to
be overly affectionate. Claire seems to be the opposite of Fleabag, in a sense that she does not like her jokes and that she is very uptight and
closed off. They do seem familiar with each other, however, and share a look when the subject of their mother comes up. They are not
completely different, both being ready to give up five years of their life for the perfect body. Claire does seem genuinely worried about her sister,
but when clumsily trying to connect, Fleabag shuts this down.
- Dad: Her relationship with her dad seems to be troublesome. He doesn’t get in contact very often and when Fleabag does go to him when she
needs comfort he reacts coldly. He seems unable to handle her emotions and sends her away.
- Stepmother: Fleabag’s relationship with her stepmother is not very close. They seem to be friendly towards each other but in a very superficial
way. While smiling her stepmother makes unkind comments towards her, while Fleabag at the same time also doesn’t show a lot of interest in
her stepmother or her artwork.
47
- Boo: Her relationship with Boo seems to have been the tightest of all the people around her. When she was still alive, they were co-workers but
also seemingly trusted each other completely, making a pact to never ask anybody for anything. Fleabag seems visibly moved every time she
things of Boo and it appears that she is still grieving her death.
- Other Characters: Most of her encounters with other people are sexual. The first two people that she meets, she tries to/succeeds to sleep with.
Even her conversation with the man from the bank accidently turns in that direction when she forgets she is not wearing a top underneath her
jumper. Also, on her date and when she helps a drunken stranger at the bus stop, she tries to sleep with them. The only person she truly opens up
to is the taxi driver at the end of the episode. When he is trying to make small talk to pass the time, she opens up and tells him (and the camera)
about what really happened to Boo.
3. Camera:
- Fleabag: During the episode she narrates her life to the camera. She directs her full attention to it and either gives it a meaningful glance or
speaks to it about the situation that is happening. She also introduces people, but at the same time comments on what she thinks of them. She
seems to be talking to someone, relating to the camera/audience when starting off with “Do you know that feeling...” When playing it cool to
other characters, she shows the camera what she really thinks about them or the situation. Looking nervous for her one-night stand, her repulsion
at the teeth of the man on the bus or her hesitance to ask her sister for money. In the beginning of the episode she is even narrating before the
events happen, but mostly she comments on them while they are happening to her. Other people are unaware of her (non)verbal conversations
with the camera. They are also not aware of her absence during the monologues or the fact that she sometimes does not respond to them, but to
the camera. The moments that she is truly vulnerable in the narrative, when she is applying for a loan and when she is standing in front of her
father’s house, she does not make any contact with the camera. She also does not comment on the flashbacks that are also visible for the
audience. She is aware of being watched though, looking at the camera after she steels the money from her date. She seems partly in control of
what the camera sees, but not all the way.
After being send away from her father’s house, after trying to show her emotions to another human being, she steals the figurine. Semi-naked, in
the back of the taxi she glances to the camera and smiles, non-verbally narrating to the camera to the end of the episode.
- Other characters: Other characters in this episode are not aware of the camera or her interaction with it. They also do not seem bothered by
her lack of verbal response when she only responds to the camera and not to them.
Analysis Episode 4 (Season 2)86
86
For a chronological overview of the episode, see Fleabag’s character description. Since all scenes in the episode involve this main character, and everything is seen from her
point of view, this gives a complete insight into the events in the episode. Important dialogue is therefore also written down here, because this gives insight into the main
48
Characters Fleabag Recap: Fleabag went into counselling after her dad gave her a few sessions as a gift. According to her,
because her mother died, and he can’t talk about it. During a dinner where the family talks about the
forthcoming wedding, her sister gets a miscarriage. Protecting her sister, Fleabag claims it is hers. She also
gets an obsession with the priest that is officiating her dad’s wedding. He shows an active interest in her, at a
time where she has the feeling that no one does, and they form a friendship. He likes her as well but has
proclaimed a celibacy, to Fleabag’s frustration. Beside sex, they’ve also talked about God and how she has no
interest in faith. Despite her sexual frustration, she does say she likes to be his friend.
Walking the street: After she goes shopping with the priest, they walk the street together as they are smiling,
and the priest is telling her how happy he is with his choice. He asks her about what she prefers, weddings or
funerals. During this conversation about death and his question if she really doesn’t believe in anything besides
that we are worm food after we die, she is not paying much attention. She is looking at him in awe as he
enthusiastically speaks, and she comments to the camera about his body and how attractive she finds him.
When he asks her about why she believes in something so awful she says laughing: “Don’t make me an
optimist, you will ruin my life.” The topics goes to funerals and she immediately has a short flashback of her
mother’s service when she says, “a couple.” She tells him she believed they were already gone at that moment.
Fig. 7. Fleabag looks into the camera during the Quaker meeting.87
Quaker meeting: When the priest takes her to a Quaker meeting, she explains to the camera that you’re not
character and her conversations. The scene titles here are also used in the rest of the columns, both in the character description, as in the overview of their interaction with
each other and with the camera.
87
Fleabag, “Series 2, episode 4”, , Screenshot, 02:33. directed by Harry Bradbeer, written by Phoebe Waller-Bridge, aired 20 December, 2019, on BBC One,
49
allowed to speak. Only when the spirit moves you, she explains, you need to stand up and share it with
everyone. They are in an almost empty room with a lot of chairs and sitting in different corners. Fleabag shares
the experience at the camera, saying: “It’s very intense, it’s very quiet, it’s very, very erotic.” As she sits in
silence, she wonders what the priest is thinking. She then says “I don’t really think it’s... I’m not really
feeling... I don’t think it’s really affecting me…” as she stands up while looking surprised into the camera. She
apparently wasn’t planning on speaking, asking the camera “Oh my god, what am I going to say?” As she
stands, she speaks up: “I sometimes worry I wouldn’t be such a feminist, if I had bigger tits.” Afterwards,
while walking outside the building the priest says, “well, something moved you.” Fleabag: “I don’t think I
needed to be moved to discover that about myself.” After this, he asks if he can see her café, while she tries to
explain to him how this it is a bit of strange place.
Fig. 8. Fleabag shows her feelings about the priest to the camera. 88
Café: At the café she introduces the priest to her guinea pig. As he cuddles excitedly with the animal, she turns
to look at the camera over her shoulder and smiles and bites her lip, clearly charmed by his loving response to
her pet. When he asks her why there are so many pictures of Guinea pigs in the café, she has a short flashback
of Boo hanging up a picture of a guinea pig with a pink bow on his head and saying to her “this is an excellent
one.” She doesn’t say this to the priest, however, but says something about how it is a unique selling point.
Still hugging the animal, the priests asks, “what do guinea pigs actually do?” Fleabag: “Oh, they are born, they
shit themselves with fear and then they die.” He then asks if he could use that for the wedding of her dad, since
he is in need of some inspiration. He then asks her if she can tell him something about her stepmother, which
she can’t. He asks about her mother and the relationship of her parents, while she starts firing the same
questions back at him. He answers a quick no, when she asks if he was close to his mother. The both seem
88
Fleabag, “Series 2,” Screenshot, 05:03.
50
hesitant to answer questions and start talking through each other. He asks if she opened the café on her own
and Fleabag says that it was together with a friend. He asks further, if they are still running it together and
Fleabag shuts down. She thinks of Boo, visualised in a short two second flashback of Boo sitting at a table and
shaking her head no, and starts stuttering and laughing, seeming to be unable to say that Boo has died. She then
looks over her shoulder at the camera again and says, “He’s a bit annoying actually.” Only this time, the priests
sees what she is doing. He asks “what is that? That thing that you are doing. It’s like you disappear. What are
you not telling me? Tell me what’s going on underneath there. Tell me, you can tell me!” Fleabag keeps saying
“Nothing, nothing” while denying that she does anything. She then says, “stop being so churchy!” Priest: “I’m
not being churchy; I’m just trying to get to know you.” Fleabag: “Well, I don’t want that.” They sit in silence,
as the priest strokes the guinea pig. He then says “Listen, I’m just trying to help you.” After which he visibly
immediately regrets his remark. Fleabag: “What?” Priest: “No, no I didn’t mean...” Fleabag: “Oh, I know what
you mean Father. Thank you so much for your guidance.” Priest: “oh come on. I really didn’t mean...”
Fleabag: “I really need to get back to work. Customers are bound to come in any minute. And you, you really
must be getting back to God, don’t you think?” After a few moments of silence, where the priest looks
tormented on what to do, she says: “I think you’ve played with my guinea pig long enough” and takes the
animal from his arms after which he leaves.
Walking away: After the priest has left Fleabag walks around outside, smoking. She has flashbacks of her
mother’s funeral. She thinks of her smoking outside with Boo, of her greeting guests, talking to her dad. She
looks straight at the camera, semi-crying and angry. She then runs away from the camera.
Funeral Flashback: Fleabag thinks back of the moment where she was getting ready for her mother’s funeral.
Boo was helping her prepare when she complained that she was looking too good, that everyone would think
she had gotten a facial before her mother’s funeral. Boo says that she should just take some of her makeup of,
to which she responds that she isn’t wearing any. First Clair and then her stepmother (back then her
godmother) come into the room and comment on how incredible she looks. The camera then follows her to the
condolences. She and Claire stand in the church and multiple people walk by them to say how sorry they are.
Every single one of them comments on how good Fleabag looks. Boo stands a few meters away and in de front
of the church is her father. When she sees her godmother go to her father and wrap an arm around him, she
says to Claire: “My god, she’s shameless.” Claire responds: “Can you not think the worst of someone for one
second? Not everyone is after cock.” And walks away angry. Fleabag and Claire share a look of surprise.
Smoking outside: After condolences, Boo and Fleabag stand outside smoking in silence, when Harry walks
51
towards them. Still her boyfriend during the time of this flashback, Harry seems very upset at his mother in
law’s passing. Fleabag comforts him, during the loss of her own mother. While he is crying and telling her
how much he is going to miss his mother in law, Fleabag looks at him emotionless. When he asks her if she
has cried yet, she answers a quick: “Yes.” Still without showing much emotion.
After the funeral: When the funeral is over, Fleabag’s godmother comes to her and Claire to ask how they are
doing. She starts talking to them about how the real grieving comes in a few weeks, when things calm down
and people start to forget. She tells them how their boyfriends will probably not be able to cope. Fleabag and
Claire protest, but she continuous how she will be the one that will be there for them during that time. The
sisters look visibly uncomfortable and share a look. Claire: “See?” Apparently now really convinced of her
godmother’s good intentions. After both walk out of the frame, Fleabag is left and suddenly looks quite sad.
Reception: During the reception Fleabag is eating in a corner of a crowded room full of friends and family
when Claire comes towards her. Carrying plates of food and looking angry, she asks Fleabag: “I don’t know
how you are eating. Do something!” after which she walks away. Fleabag looks guilt while chewing her
sandwich.
Fig. 9. Fleabag and her father speak after her mother’s funeral.89
Conversation with dad: Looking for something to do, she goes upstairs and finds her father sitting on the
edge of a bed, looking defeated. When she walks into the room, he says to her: “Oh hello my darling. Bit
tight.” He is talking about his shoes and pretending he was there to tie his laces. They sit beside each other in
silence after which her dad says: “I found her very difficult, you know. I love her, but.” Fleabag: “That’s all
that really matters.” Dad: “No, I don’t think it is. Her instincts were... She just knew... How to be fun. How to
be kind. She just knew. I’m just guessing.” Fleabag: “You’re fun, dad.” Nudging him on his shoulder. Dad:
89
Ibid., 12:52.
52
“No, I didn’t like that about her. I loved her, but I didn’t like that she was... For a long time, I... And today... I
was jealous of her.” Fleabag: “That’s a lovely thing to say, really.” After which her godmother comes in
saying: “Oh, sorry. I’ll leave you two.” But she doesn’t move. Only after a long awkward pause she turns
around and leaves. Dad: “She’s a bit annoying, isn’t she?” after which they both laugh. Dad: “Let’s go and find
you sister.” Fleabag: “I don’t think she wants to see me”. Dad: “She loves you. She just didn’t get that fun
gene.” They both start laughing, but for Fleabag this soon turns into a sobbing cry. “I just don’t know...” Dad:
“I know. Buck up… smile…charm... off we go. We’ll be okay.” He starts walking out of the room when
Fleabag says she will follow in a minute, after which he turns around and says: “You look lovely by the way.”
Fleabag laughs, while still crying. She sits alone in silence and looks out the window.
Church: Back in the present, Fleabag is sitting in a darkened church. She has cried and looks around the
church. She thinks back of Boo.
Boo Flashback: A crying Fleabag: “I just don’t know what to do with it.” Boo: “With what?” Fleabag: “With
all the love I have for her. I don’t know where to…put it now.” Immediately Boo says: “I’ll take it” To which
Fleabag laughs.” Boo: “No, I’m serious. It sounds lovely. I’ll have it. You’ll have to give it to me. “Fleabag
keeps laughing and says “Okay”. Boo: “It has to go somewhere.” Back in the present, she looks down at the
church ground.
Church II: After the flashback, Fleabag kneels down, looks at the camera and starts praying. She is soon
disrupted by a J-Lo song blasting from the priest’s office. She enters the room and finds him jumping and
reaching for something in a closet, while the music plays from his radio. She turns it off, which startles the
priest: “Fuck, fuck, Jesus.” he yells at her. Fleabag: “Why are you awake. It’s 21:45.” Priest: “Wow, I thought
you were just in my head then. Well, you were in my head then. But now, you’re there.” Fleabag: “Are you
okay father?” Priest: “Oh fuck you, calling me father as if it doesn’t turn you on just to say it.” Fleabag looks
at him with a straight face. The priest chuckles at her. Priest: “You want a drink?” Fleabag: “Okay.” Priest:
“Don’t move.” He grabs them two glasses and a bottle of whiskey. He asks her: “Are you a nostalgic person?”
To which Fleabag answers that she is. “Do you like Winnie the Pooh?” Fleabag, chuckles: “Yeah.” Priest: “I
fucking love Winnie the Pooh. I can’t read a Winnie the Pooh quote without crying. Fuck. Piglet…” After
which he grabs at his heart. Fleabag does the same movement and says agreeingly: “Piglet...” They look at
each other. Priest: “Why are you here? I’m sorry, but why are you here? Were you looking for me?” Fleabag:
“I was on the verge of having a little prayer actually.” The priest laughs and says: “No, no, no, no, don’t you
dare... that’s my thing. What were you praying about? Please say you were praying for me. I could do with the
53
extra pair of hands. Mine don’t seem to have the fucking reach anymore.” He jumps against the closet again,
reaching for something. He keeps jumping and after he says, “God help me.” A bottle of liquor falls out of a
shelve. He catches it and exclaims “Wow. Thank you”. He pours the drinks. “Did you know there was a man
who wanted to be a priest so badly that he castrated himself just to stop himself? You know... Whack! Fleabag:
“Wow.” He gives her the drink and they toast. Priest: “Here’s to peace. And those that get in the way of it.”
Fleabag takes a sip and the priest downs half his drink. They keep looking at each other. Fleabag: “I’m sorry
about today.” The priest immediately starts shaking his head. “Forget it. Look at this.” He takes a fancy
looking, purple robe from the closet. “Look at it.” Fleabag laughs. Priest: “That’s the first one I ever got. Went
all the way to Rome for that. Such a nerd. Two years before I was even allowed to wear it. But I just couldn’t
wait. Couldn’t wait. I knew I wanted a bold, you know, this colour. But, proper plum, you can only get proper
plum in Italy.” Fleabag laughs, but also looks at him in admiration. Priest: “Sometimes I think I’m only in it
for the outfits.” He looks at her. “So beautiful, isn’t it.” They keep looking at each other with a certain
tenseness. Priest: “I mean, you stuff is lovely too. What were you praying about?” Fleabag laughs and looks at
the ground. Priest: “You don’t like answering questions, do you?” Fleabag looks at the camera, after which the
Priest does the same. Priest: “Okay. Come with me. I know what to do with you.”
Fig. 10. Fleabag confesses to the priest.90

The Confessional: The priest takes Fleabag into a confessional. Standing in front of the booths he says: “You
go in there; I go in there.” Fleabag: “And you make me tell all my secrets so you can ultimately trap and
control me.” Priest: “Yeah. No, you tell me what’s weighing on your heart and I listen without judgement and
in complete confidence.” Fleabag: “Sounds dodgy.” Priest: “I just... listen, at the least it will shut me up for a
minute.” Fleabag: “I’m not Catholic.” Priest: “Tonight, that doesn’t matter.” Fleabag: “I won’t catch fire or
90
Ibid., 21:11.
54
something?” Priest: “If you do, it will confirm my faith so let’s try it. Go on” Fleabag takes another sip. Priest:
“Go on.” Fleabag looks at the booth again and says “Alright.” They both enter and close the curtains. The
priest is not visible in his booth, but Fleabag sits in front of the camera, clearly nervous, still holding her drink.
Priest: “Okay, now you say: Bless my father for I have sinned.” Fleabag: “I’m not going to say that.” The
priest laughs. “What? Very good. It has been…enter days/year/months since my last confession. Fleabag
shakes her head laughing. Priest: “Then I say: That’s okay, blablablablabla, can you tell me what’s on your
mind. Tell me your ssss..” Fleabag: “Sins!” Priest: “Sins, if you want. Fleabag: why would I tell you my sins?”
Priest: “Because it will make you feel better! And... because…I want to know!” They are both still laughing
during this conversation and Fleabag takes small sips of her drink. Fleabag says “Okay” and physically seems
to prepare herself for what she is about to say. Fleabag: “Okay. I lied. To you.” Priest: “Okay. About?”
Fleabag: “About, the miscarriage.” She looks like she got caught, while the priest stays silent. Fleabag: “I was
covering for my sister who actually had the miscarriage because her husband didn’t know she was pregnant,
and it was just...” Priest, in a kind voice: “Okay. Keep going.” Fleabag: “I’ve stolen things. I’ve had a lot of
sex outside of marriage. And once or twice inside someone else’s. There has been a spot of sodomy. There has
been much masturbation, a bit of violence and of course the endless fucking blasphemy. The priest chuckles.
“And...?” Fleabag: “And...” Priest: “Go on.” Fleabag: “And...” She has a few very short flashbacks of Boo
laughing at the camera. “And, I. I can’t.” Priest: “It’s okay, go on.” Fleabag: “Frightened.” Priest: “Of what?”
Fleabag: “Forgetting things. People. Forgetting people.” She takes another sip of her drink. “And I am
ashamed of not knowing what I...” Priest: “What you want? It is okay not to know what you want.” Fleabag:
“No, I know what I want. I know exactly what I want. Right now.” Priest: “What’s that?” Fleabag: “It’s bad.”
Priest: “That’s okay.” Fleabag: “I want someone to tell me what to wear in the morning.” The priest laughs,
“Well, I think there are people who can...” Fleabag: “No, I want someone to tell me what to wear every
morning. I want someone to tell me what to eat, what to like, what to hate, what to rage about, what to listen to,
what band to like, what to buy tickets for, what to joke about, what not to joke about. I want someone to tell
me what to believe in. Who to vote for, who to love and how to... tell them.” She starts crying. “I just want
someone to tell me how to live my life father because so far I think I’ve been getting it wrong. And I know that
is why people want people like you in their lives because you just tell them how to do it. You just tell them
what to do, and what they’ll get out the end of it. And even though I don’t believe your bullshit, and I know
scientifically, nothing I do makes any difference in the end anyway I am still scared, why am I still scared?”
Crying and defeated she bows her head. “So just tell me what to do. Just fucking tell me what to do, father.”
55
It is silent in the other booth and Fleabag looks sad at the ground. Then, the priest speaks up: “Kneel.”
Fleabag looks up, surprised: “What?” Priest: “Kneel. Just kneel”. Fleabag puts down her drink. Slowly she gets
up and kneels down in the booth. She looks up, still with a defeated look in her eyes. Then the curtain flashes
open, and the priest stands there, towering over her. They look at each other and he also kneels down. He
touches her face and slowly bows to her. They kiss carefully. They get up and start kissing more passionately
against the confessional booth. Fleabag starts ripping of his gown, frustratingly saying under her breath: “Is
this a skirt and a dress?” Priest: “Sorry, sorry” while he tries to help her. Then, with a load bang, a painting of
Jesus at the altar falls of the wall. They rip apart and look at each other. The priest looks angry and frustrated,
shaking his head. Then he walks away, leaving Fleabag behind. With lipstick smeared over her face, she looks
at the camera in anger.
Priest Recap: The priest is a new character introduced in the second series. He is deeply embedded into his Catholic
faith and introduced in the first episodes of the series as the priest who will officiate Fleabag’s dad’s wedding.
He shows an active interest in Fleabag, asking her about her life. He sees his job as a calling but is also
showing behaviour not likely to be associated with a priest, like drinking and swearing. He has talked with
Fleabag about his celibacy and how it is less complicated than romantic relationships, and after a lot of flirting
back and forth he has said to her that they will not have sex but that he would really like to be her friend. They
do form a friendship in the first three episodes, often meeting up and drinking together as they talk about their
seemingly opposite lives. Faith is a big topic in these conversations and a humorous moment between them
happens when Fleabag says she doesn’t believe in God, when a painting drops from the wall, making the priest
claim: “I love it, when He does that.”
56
Fig. 11. Fleabag goes shopping with the priest.91
Shopping: When the priest is out shopping with Fleabag, he seems doubtful about which clerical clothing
would suit him best. He seems genuinely concerned about the floppy bits on the sleeves. The scene has a funny
feeling as the importance of the uniform he is trying out contrasts with his superficial worry if it would look
good on him.
Walking the street: After their shopping trip he enthusiastically talks to Fleabag about his choice. He asks
what she prefers, weddings or funerals? For him, funerals are humbling. He is unaware of her not really paying
attention and goes up in his own enthusiasm, visibly enjoying his time with her. He says it’s good to dwell on
the next life, doubting her believe that we are just worm food after we die. He yells, in a happy excited way:
“Why believe in something so awful, when you can believe in something wonderful!” His optimism
contrasting Fleabag who comments that he should not make her an optimist because it will ruin her life. He
asks her if she has been to many funerals, and if she never felt them “go somewhere”. Fleabag then makes a
mistake in her narration to the camera and says to him: “Oh, his beautiful neck”. He seems startled but then
says “weird” and drops it. He then takes her into a building saying, “This might be your idea of hell, but I think
it’s kind of special.”
Quaker meeting: The priest takes Fleabag to a Quaker meeting, sitting there in silence as she wonders what
he is thinking. He sometimes looks at her and smiles while they sit opposite of each other in the large, empty
room. After she speaks about her questioning feminism if she would have had bigger breasts, he hangs his
head and laughs silently. When they walk outside, she asks what he was thinking and he answers: “Well, I was
thinking about how peaceful I felt and then for some reason I was thinking about your tits which kind of ruined
it for me.” He is laughing during the remark and teasing her with her unexpected revelation.
Café: At Fleabag’s café her meets her guinea pig. He seems surprised by such a random animal in a
coffeeshop but is also extremely happy as he cuddles with the animal and says: “Ohh, you gorgeous little
thing.” They start talking about guinea pigs and then come to the topic of the wedding. He needs material, he
says, and asks how Fleabag’s stepmother is like. She is unable to give him a proper answer and asks him if his
parents got on. He doesn’t reveal a lot about himself, answering with yes and no while still firing questions at
her. They both seem hesitant to answer questions, and they seem quite awkward al of a sudden. When Fleabag
says something to the camera, he is aware of this and starts firing all sorts of questions at her. “What isn’t she
telling him, where does she go when she does that.” He doesn’t stop even though she is clearly uncomfortable.
91
Ibid., 01:08.
57
He says he is just trying to get to know her, and then makes the mistake of saying he wants to help her. Fleabag
gets very angry and sends him away. He regrets what he has said but seems to be unaware of how to fix it.
Church II: When Fleabag enters his office, the priest is trying to reach a bottle of liquor on a high shelf. J-Lo
is blasting through the speakers, again in strange contrast with his profession and the environment he is
currently in. He looks dishevelled and is startled by her entering his room when he was just thinking about her.
It looks like he has been drinking, and there is already an empty liquor bottle on the table. Fleabag doesn’t say
much, but he fills the silence with talk about Winne the Pooh and the time he went to Italy just for a certain
robe. During his talking he looks at her lovingly, but also quite depressed. Their whole conversation has a
certain tenseness. He wants to know what she was praying about but seems to have learned from their
conversation in the café and realizes she doesn’t like answering questions. As a solution, he takes her with him
to the confessional in the church.
Confessional: After Fleabag is hesitant to talk to him about what’s bothering her, and why she was praying, he
brings her to the confessional. They are both laughing and drinking, and when Fleabag asks if it matters that
she is not Catholic, he says: “Not tonight.” He doesn’t seem to take the confession to serious on a religious
level, but more as something that can help Fleabag talk to him as a friend. This also becomes clear when he
says “Because I want to know” as a reason for her to talk. After she finishes her dialogue something in him
changes and he gives in to his urges that he had hinted at before. He asks her to kneel, and then kneels down
with her and kisses her. He completely gives in during this moment, until the painting of Jesus falls of the wall.
This seems to remind him that what he is doing, is forbidden by the church. He looks angry, confused and
disappointed, and without saying a word he walks away and leaves Fleabag alone in the church.
Claire Recap: Claire has had a miscarriage during a dinner in the first episodes of the season. Refusing to tell anyone
or ask for help, Fleabag claims it is hers, causing even Claire’s husband to be unaware of what happened.
During an important event at Claire’s work, her sister becomes aware of her feelings for a Finnish co-worker.
After some struggles at the event caused by Fleabag, Claire becomes extremely angry at Fleabag, claiming
“You will always be interesting, with your quirky café and dead best friend.”
Funeral: At her mother’s funeral, Claire is clearly very stressed. She reacts angry and annoyed when she sees
how good Fleabag looks. During the condolences, she smiles and is polite. The sisters talk about their father,
which neither of them has really spoken to during the day. When Fleabag comments on how shameless her
godmother is, Claire gets angry, clearly not agreeing with Fleabag’s analysis that she’s hitting on him. She
walks away.
58
After the funeral: When her godmother comes to her and Fleabag to show her support, she keeps going on
about how the people in their lives will forget them after a while, but that she will be there during their grief.
While Fleabag finds this weird, Claire sees it as a caring remark, saying to her sister: “See?”
Reception: During the reception, Claire is walking around carrying plates of food. Apparently, she is
expecting the same of her sister who is eating a sandwich when she angrily tells her to “do something.”
Dad Recap: Fleabag’s father tries to reach out to his youngest daughter but is still struggling with this connection,
resulting in him giving her free counselling sessions. He is also getting married and tries to celebrate this with
his family, resulting in a big family fight.
Conversation with dad: At the reception, Fleabag finds her dad upstairs. He is honest with her, talking about
how he was jealous of his departed wife, and her ability to always be fun and kind. Even though he still seems
a little bit awkward, he is opening up to her. Implying that Fleabag also has this “fun-gene”, which her sisters
missed. Fleabag breaks down crying, to which he comfortingly says that they should buck up and charm, and
that they will be okay. He has opened up to her. He shows how much he loved his wife but is also very honest
in that this adoration sometimes turned into jealousy.
Stepmother Recap: Fleabag’s stepmother is now getting married to her father. She is very charmed by the priest that is
officiating the wedding and involving him in the engagement dinner where Fleabag meets him.
Fig. 12. Claire, the stepmother and Fleabag at her mother’s funeral.92
After the funeral: After the funeral of Fleabag’s mother, she comes to the sisters and tells them how the grief
will come later. After a while, the flowers and cards will stop coming and their boyfriends will be unable to
cope. She, however, will be there for them. Even though this sound sweet, she emphasises how alone they will
be, something that one probably doesn’t want to hear during their mother’s funeral. She also emphasises her
92
Ibid., 11:31.
59
presence by saying how she will “always be there.” After which she repeats the word “Always” three times.
Conversation with dad: When Fleabag has a conversation with her father upstairs at the reception of the
funeral, the godmother enters the room. She says “Oh, I’m sorry. I’ll leave you two.” But doesn’t actually
leave immediately. She just stands there for a few moments, smiling broadly, looking at them. Almost seeming
to be expecting them to say that she could stay. When they don’t, and an awkward silence has followed, she
turns around and leaves.
Boo Recap: Boo doesn’t have a lot of screen time in the second season, but her death still has a big impact on
Fleabag, who is still grieving.
Café: During her conversation with the priest, Fleabag has multiple short flashbacks of Boo in the café. She is
shown hanging up another Guinee pig picture, apparently a massive fan of the animals, and later sitting at a
table.
Funeral: At the funeral, it shows what a supportive friend Boo is. She is there, helping Fleabag get prepared
for the ceremony and during the condolences she is helping out handing out booklets and being there if
Fleabag needs her. After Fleabag and Claire argue, she makes a joke and offers her friend a cigarette to get out
of the situation.
Boo Flashback: Thinking of her grief, Fleabag thinks bag at a conversation she had with Boo after her mother
passed away. Questioning what she was supposed to do with all the love she had for her mother, Boo comforts
her and asks if she can have it. She says: “it has to go somewhere.”
Harry Funeral: During the flashback of her mother’s funeral, Fleabag was still in a relationship with her ex-
boyfriend. He visits her when she is outside smoking with Boo. He is visibly very emotional. During their
conversation he is visible more emotional than Fleabag, even though it is her mother. He tells her how
different funerals are when you actually know the person, and how much he is going to miss her. He then asks
Fleabag if she has cried yet. He seems distracted and ends the conversation with a comment on how good she
looks.
Interaction Fleabag & Priest Shopping: Fleabag goes shopping with the priest for clerical clothing. They seem friendly and at ease with one
another as they make a choice what would suit him best. They agree it was the first one, as the priest doubts
‘these bits’, meaning the floppy sleeves.
Walking the street: As they walk the street together, they seem comfortable and like they are enjoying each
other’s company. While Fleabag is thinking about how attractive she finds him, he talks about faith with a
60
contagious enthusiasm. He asks her questions and seems genuinely interested in her opinion about these topics,
even though they believe very different things.
Quaker meeting: During the meeting they sit in silence at opposite sides of the room. They look at each other
and smile. After Fleabag makes some unappropriated remarks by accident the priest laughs and seems to find
the whole thing funny. When they walk outside, he is teasing her with it. He mentions how it caused him to
suddenly think about her breasts and pretends that he didn’t enjoy that experience while showing that he isn’t
serious by laughing and pretending to be offended. They fall silent and then start talking at the same time.
Fleabag mentions how she should open the café but tries to explain how it’s a bit of a strange place. He asks
“what…” and the scene moves to the café where the priest is holding a guinea pig and exclaiming: “The fuck!”
Café: In the café, the priests keeps asking her all sorts of questions. Fleabag is visibly uncomfortable with this.
She does give him a few short answers and tries to give these questions back to him. When this fails, she gets
very uncomfortable. He asks her questions about Boo which she doesn’t want to answer. After this, he even
notices and commences on her narration the camera, which startles her a lot. When he says he just wants to
help her she gets very angry and asks if he shouldn’t need to go back to God.
Church II: When Fleabag enters his office, they have a conversation while both being quote tense in each
other’s presence. Fleabag doesn’t say much but looks at him with a kind of admiration. He fills the silence and
talks confidently about Winnie the Pooh and robes while they share a drink. The connection that they have had
since the beginning is obviously still there, but they also seem tense. Earlier that day, they had the fight in the
café, and this still seems to linger between them. It is also obvious that they are attracted to each other. This is
enhanced by the priest telling a story about a man who wanted to become a priest so bad he cut of his own
genitals in order to restrain himself.
Confessional: During the confessional scene, their conversation is more like that between friends than
between a priest and a religious person. This becomes clear by their jokes and the fact that they keep on
drinking in the booths. The priest genuinely wants to know what is bothering Fleabag and sees this as a way to
find out. After her confession, however, something changes between them. This seems to be the last push he
needed to act on his attraction towards her, about which he had hinted before. They kiss, and dry to undress
each other almost immediately, until the painting falls, which reminds him of his duty to the church. Fleabag
gives him a faint laugh, which he doesn’t reciprocate. He walks away angry, and leaves Fleabag behind.
Fleabag & Funeral: During the funeral they are arguing, but also sharing grief. Claire is annoyed that Fleabag looks so
Claire good but smiles when Fleabag tells her she looks perfect. During the condolences they talk about their dad
61
after which Claire gets angry that Fleabag always thinks the worst of everyone.
Reception: During the reception, the sisters handle the situation differently. Claire is running around carrying
food while Fleabag is standing in a corner, eating. Claire tells her frustrated that she needs to do something, to
which Fleabag listens.
Fleabag & Dad Conversation with dad: During the conversation at the reception, it is the first time that a visibly connection
between Fleabag and her father is visible. Even though he is still visibly uncomfortable with showing his
emotions, he opens up to his daughter about how much he loves her mother, but also how difficult this
sometimes was. He indirectly says that she is a lot like her mother. It is also the first time that he comments on
the godmother saying: “She’s a bit annoying, isn’t she.”
Fleabag & After the funeral: When Fleabag’s godmother comes to her and Claire after the funeral and insists how
Stepmother everyone will be unable to cope with their grief, but how she will always be there, Fleabag doesn’t trust it. She
looks at her strangely, while Claire sees the whole bit as a caring sign. Their conversation has something a bit
strange about it, as the girls are visibly uncomfortable, but the godmother forces them in a double embrace
while telling them how she will “always, always, always be there.”
Fleabag & Boo Flashbacks: During the short flashbacks we see Boo through Fleabag’s eyes. Sitting at a table and hanging up
a guinea pig picture. They are not interacting in these short moments.
Funeral: During the mother’s funeral, Boo is there to support Fleabag. She helps her prepare before and stands
a few meters away when Claire and Fleabag are talking to the guests. After Claire storms off, Fleabag walks
towards Boo and says, “She’s definitely trying to fuck my dad.” Speaking about her godmother. Boo: “Well,
she ain’t made of wood.” The girls laugh at this remark after which Boo asks her “if she wants a ciggie.”
Boo Flashback: Sharing her grief with Boo, they talk about sharing the love she had for her mother with Boo.
Claiming that it has to go somewhere. It shows how much they cared for each other.
Fleabag & Harry Funeral: When Fleabag is outside at the church, smoking with Boo, Harry comes toward her. He asks her how
she is doing. She is doing fine she says, and immediately after asks: “You? Do you need anything?” He
doesn’t, saying he just had a glass of water. Fleabag: “Wait, are your trousers okay?” Harry: “Sorry, left them
in the dryer.” Boo: “Ahh mate.” After which Harry immediately starts crying. Harry: “Ahh, I’m sorry. Funerals
where you actually know the person... they’re just so...” After which Fleabag hugs him. Harry: “It just doesn’t
feel real. I am going to miss her so much.” To Fleabag: “Have you cried yet?” Fleabag, with a flat face: “Yes.”
Harry: “But I didn’t see you...” At that moment he looks at her, falls silent and says: “Wow, you look... Have
you had your eyebrows done?”
62
Fleabag & Other Fleabag has no interactions with other people outside the ones mentioned above.
characters
Camera Fleabag Shopping: When the priest and Fleabag go shopping together, she seems at ease in his presence, as friends.
When he goes back into the dressing room, she gives a guilty look into the camera and smiles.
Walking the street: While the priest is talking about funerals and faith, Fleabag answers his questions, but
also addresses the camera saying: “His arms,” His neck,” “His beautiful neck.” She switches between her
addressing her and the camera that is sometimes before her and sometimes behind her as they are walking the
street. She then makes a mistake in her breaking of the fourth wall. When the priest asks if she never felt her
loved ones go somewhere when they died, she says to the camera: “No, they were already gone.” While saying
to the priest: “Oh, his beautiful neck.” When he responds with “what?” she looks at the camera startled and
pretends to the priest as if he understood her wrong. This is the first time that she is confusing her two
simultaneous conversations. This does not stop her however, because as he walks inside, she repeats to the
camera. “Oh, his beautiful neck...”
Quaker meeting: During the meeting she explains what they are doing to the camera. She tells about the
concept of a Quaker meeting and how you are supposed to be silent until the spirit moves you. Information that
wasn’t clear from the action on the screen alone, since they are just sitting in an almost empty room. She also
shares her thoughts with the camera, wondering what the priest is thinking about. Then, she starts standing up,
showing her surprise about this fact to the camera and saying how it hasn’t really moved her, how she is not
feeling anything, while showing the opposite.
Café: At the café she looks at the priest while he is hugging her guinea pig, she turns around to the camera,
smiles and bites her lip. When the conversation turns, however, she also expressed her doubts to the camera
saying, “He’s a bit annoying actually.” After this, the priest notices her interaction with it and she starts to
avoid looking at it through this scene, pretending that nothing is going on.
Walking away: After the priest left, Fleabag is walking outside. She is looking straight at the camera, sad and
crying. The camera follows her closely, but also shows her from further away. It then shows her from behind,
following her while she is walking. She turns around and looks at it, now annoyed. During this she also has
flashbacks of her mother’s funeral. She starts walking faster and runs around the corner, looking over her
shoulder, angry. The camera follows her when she walks inside her house, into the bathroom and washes her
face. She sometimes gives the camera a quick glance but also looks at herself in the mirror. She is visibly very
upset. This is followed by full length flashback of her mother’s funeral in which she doesn’t recognise the
63
camera.
Church II: After having had contact with the camera for a while, being in her flashbacks, she first looks at the
camera when she is in the church. Having thought about all the people she lost, she kneels down in the church
and folds her hands. She looks at the camera daringly. After which she is soon disrupted by the Priest his radio.
Confessional: After she kissed the priest, and he walks away angry after the painting falls, she looks at the
camera. She has lipstick smeared over her face and looks angry.
Other
Characters
Fig. 13. The priest acknowledges the camera.93

Café: When Fleabag expresses to the camera how she finds the priests a bit annoying when he keeps asking
her personal questions, he notices her moving away. He is the only character that notices this, since all other
characters in previous episodes have ignored the fact that Fleabag sometimes doesn’t answer to them but in the
camera or that she takes a while to answer a question. The priest however asks: “What is that? That thing that
you are doing. It’s like you disappear. What are you not telling me? Tell me what’s going on underneath
there!” While Fleabag keeps saying “nothing!” she gives the camera a frustrated look, which the priests notices
again. He then also looks into the camera and yells “Ah! What are you doing?”. This is the first time that
another character also looks directly into the camera. Even though he doesn’t seem aware that there is a
camera, he is aware that she is “going somewhere”.
93
Ibid., 06:53.
64
Fig. 14. The priest acknowledges the camera for the second time.94
Church II: When the priest and Fleabag have a conversation in his office, he asks her “You don’t like
answering questions, do you?” In response, she looks at the camera, after which he does the same. They don’t
mention this but continue their conversation.
Summary
1. Characters:
- Fleabag: During this second episode, de audience finds Fleabag after meeting the priest that will officiate her father’s funeral. He has shown a
genuine interest in her and they get along. She also finds him very attractive, which she hides from him but does show to the camera. Her father’s
wedding also triggers a lot of memories for her, and she has multiple flashbacks to her mother’s funeral and of Boo. The priest is the one person
she cannot have sex with, and above that, he keeps asking her difficult questions about her parents, Boo and death. She refuses to answer any of
these and when he insists, they get into a fight. After all the flashbacks, and the dominant presence of the priest, she decides to pray and enters
the church. She ends up, however, with the priest in a confessional. Here she explains how she cheats and lies, how her life revolves around sex,
but most of all how scared she is. After already mentioning a fear of being a bad feminist in the first episode, and again in this episode during the
Quaker meeting, she confesses that she wants someone to decide her life for her. She knows this to be a bad thing, but she feels like she is getting
her life wrong and just wants someone to decide the rest for her. She also mentions how she does not believe in God, or in meaning in her
actions, but that she understands why people listen to priests, because they can tell them what to do. Her confession ends with them making out
when the priest is brutally reminded of his vows. He leaves and she is left alone, angry in the church.
- Priest: The priest is a new character in this season and has a big impact on Fleabag’s life. He is not a stereotypical priest. He is young and
94
Ibid., 19:46.
65
handsome and is obsessed with the outfits that he gets to wear. He swears a lot, is able to joke about his religion but also seems to struggle with
his faith, especially now that he has met Fleabag. He seems just as interested in her as she is in him, which becomes clear in the recap of earlier
episodes where he states that they are not going to have sex, emphasizing the tension between them. In this episode, however, he refers to a man
who wanted to be a priest so bad he castrated himself just to stop himself, a comment that is saying something about his state of mind at that
time. He also drinks a lot, shown by the many bottles in the episode and him downing his drink after they toast. He asks Fleabag a lot of
questions, but sometimes makes this seem as if this is purely out of his religious function, even though they both know this is not why he is
interested in her. This becomes clear when he evidently says, “I just want to help you.” And Fleabag gets very angry at him. In the end, he yields
when she pours her heart out at him during her confession. They kiss but stop when a painting of Jesus falls of the wall. Fleabag tries to laugh at
it, but for the priest this is a sign. He looks angry and confused and walks away.
- Claire: Fleabag’s sister is only present in this episode during the flashbacks of their mother’s funeral. Here she is as uptight as she was in the
previous episodes and runs around arranging things and expecting Fleabag to do the same. During the service, she refuses to believe Fleabag
when she states that their godmother is trying to sleep with their father. She claims that not everyone is as Fleabag and thinks about sex all the
time. When their godmother comes to them and says she is there for them, she says to Fleabag: “See!” as if this proved her point. When their
godmother also makes comment about “their boyfriends not managing to cope” she silently tries to say that he is actually her husband but doesn’t
get through to her. She seems as uncomfortable with the conversation as Fleabag but refuses to admit this to her sister. During this episode her
father describes her, behind her back to Fleabag, as “not having got that fun-gene”, but also as very loving of her sister.
- Dad: During the flashback of the funeral, Fleabag’s father shows his emotional side for the first time. When found by Fleabag, upstairs on the
edge of a bed, he first pretends to have been tying his laces. After a few moments, however, he starts talking about his departed wife. He
confesses of having been jealous of her fun side and her kindness. He is there for his daughter’s sadness and loss, saying how they need to buck
up, but also that they’ll be fine. In this conversation he also admits of finding his future wife a little bit annoying.
- Stepmother: During the flashback, at a time where she was still Fleabag’s godmother, she is seen comforting the father. She also tells the
sisters that people will forget them after a while, and how their boyfriends won’t be able to cope with their loss but how she will be there for
them. She insists on that she will always be there. Not noticing how uncomfortable they are she embraces them and repeats how she will always,
always be there. Something that is understood by Fleabag as a way to “fuck her dad.”
- Boo: During the flashbacks it shows how supportive Boo was of Fleabag during the time where she just lost her mother. She makes jokes,
offers cigarettes and is helping during the ceremony. Her memory is still very important to Fleabag as she is struggling with all her grief. During
another flashback it becomes clear that Boo offered to “take all that love” that she had for her mother. After her passing, Boo was the most
important person in her life, but now she too is gone.
- Harry: Fleabag’s, then, boyfriend is seen during the flashback of the funeral. He is very emotional and seems to be lost in his own grief since
this is very hard for him “actually knowing the person”. He does ask how Fleabag is coping but seems so much more emotional than his
66
girlfriend, who actually lost her mother. He almost seems to enjoy the drama that has presented itself in his life, crying very intensely and
presenting his loss quite directly.
2. Interaction:
- Priest: Fleabag’s interaction with the priest changes during the episode. At the beginning, they seem good friends. They shop together, make
jokes and talk about their families. The priest doesn’t tell much about himself, but often seems to speak from the position of a priest. He keeps
asking her questions which she refuses to answer. She is very attracted to him, but only confesses this to the camera in this episode. His also
aware of this though, telling her “Oh fuck you, calling me father as if it doesn’t turn you on just to say it.” This is one of the few times where he
acknowledges the sexual tension between them. In the end, he is the only person to which she actually tells the truth and confesses her worries.
After this, their relationship changes into a sexual one, when he finally gives into his urges.
- Claire: Her interaction with Claire is only present in her flashbacks in this episode. It shows how they coped very differently when their mother
passed away. They were arguing a bit, but it also shows that they were there for each other, when Fleabag tells her sister how perfect she looks
during the ceremony.
- Dad: Fleabag’s relationship with her father is also only visible during her flashback. Here, it shows how he did open up to her during that
difficult time. When he tells her how he sometimes struggled with the ‘fun-side’ of his wife, he implicates that Fleabag has that same gene.
Indirectly, he finds it hard to deal with that aspect of her as well. Them talking about it does seem to make their relationship stronger.
- Stepmother: Her relationship with her stepmother is shown to never been that tight. When her mother passed away, and she claimed how she
would always be there for her, Fleabag only sees this as a way to “fuck her dad”. This shows that Fleabag never really trusted her and always had
suspicions of her alternative motives for being close to her family.
- Boo: This episode gives even more insight into her relationship with Boo. She was the friend that was there for her when her mother passed
away, to who she could be honest and who offered to take all that love. In a way, this can be interpreted as replacing her mother, emotionally.
This shows how tragic it must have been for Fleabag to then also lose Boo, the one person she had left who she could trust and tell everything to.
- Harry: Her relationship with Harry in this episode is, during the flashback, still a romantic one. He is there for her, but also very deep into his
own emotions and therefore having little space for hers. They deal with the loss very differently, even though it is Fleabag’s mother, and not his.
- Other Characters: There is little contact with other characters in this episode, other than mentioned above.
3. Camera:
- Fleabag: During this episode, Fleabag’s relationship with the camera changes. She doesn’t seem as eager to share everything with it, as she did
in the first episode of the first season. At a certain point, after her fight with the priest, she physically runs from it. Besides her flashbacks, the
67
conversations she has with the priest are one of the few times where she barely acknowledges the camera. When she does, it is when she is very
uncomfortable during their conversation at the café, or later, when asks her about her reluctance to answer questions and she looks at it in
response, after which he does the same. At the end of the episode, when the priest has left her alone in the church, she looks at the camera angry,
as if this part was not supposed to be shared.
- Other characters: The priest is the only character in the show, besides Fleabag, who is aware of the camera. Not in its true form, however, but
he sees that Fleabag is pointing her attention towards it. He asks her: “where do you go”. He looks at it directly two times but doesn’t seem to
realize what it is. He does seem to relate it to her private personality, asking her the first time “tell me what’s going on” when she looks at it, and
the second time when he mentions that she doesn’t like answering questions. This is almost as if he is aware that this is the presence with whom
Fleabag does share her intimate details.
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The Postfeminist Gaze

A textual analysis of gender representation in BBC’s Fleabag.

Mary-Joy van der Deure

“I have a horrible feeling I am a greedy, perverted, selfish, apathetic, cynical,

for present-day research on the topic of representation in the show.

2.1 Gender and the importance of representation

2.2 Stereotypes and The Gaze

2.3 The Postfeminist Character

3.1 Selection method

4.1 Series One, Episode One

4.2 Series Two, Episode Four

BBC iPlayer. “Fleabag.” Programmes. Last accessed 10 December, 2019.

Emmy’s. “Fleabag.” Last accessed on 08 January, 2020.

Lotz, Amanda. “Postfeminist Television Criticism: Rehabilitating Critical Terms and

Two Brothers Pictures. “Productions.” Last accessed 10 December, 2019.

Bradbeer, Harry, director. Fleabag. Season 2, episode 4. Screenshot. Aired 20 December,

Waller Bridge, Phoebe. Fleabag, 2019. Digital Image. IMDB.

Fig. 1 Sexualized adverts and articles in the newspaper. 80

Fig 3. Fleabag and Boo make a promise.82

Fig. 4. Fleabag narrates her sexual intercourse.83

Analysis Episode 4 (Season 2)86

Fig. 10. Fleabag confesses to the priest.90

Fig. 13. The priest acknowledges the camera.93

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